Voice leading

The core ideas of voice leading

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1 MELODIC LINE RULES (VERTICAL LINE)

Is the Vertical line of music that contain
 A sense of direction
 A one climax point
The notes of the melody should be:

1.1 EQUAL OR LONGER THAN THE DURATION OF THE beat

1.2 NOTE belongs TO THE CHORD

1.3 one FOCAL POINT

1.4 avoid

1.5 change direction AFTER

1.6 CONSECUTIVE LEAPS IN THE SAME DIRECTION SHOULD outline a triad

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1.7 7 1 & 4 3

Example of good melody:

1. Melody from the Gross Kirchen Gesangbuch (1596)

2. Crüger, Herzliebster Jesu, was hast du

3. Bach, French Suite no. 3, Gigue

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2 NOTATION OF THE VOICES

"SATB-style"
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VOICING voice staff stem

soprano (S) treble clef up

alto (A) treble clef down

tenor (T) bass clef up

bass (B) bass clef down

HORIZONTAL LINES

3.1 OPEN AND CLOSE STRUCTURE

there are two structure of voicing 3 (three-part structure) or 4 voices (four-part structure);
those are:
 Close structure: less than an octave between soprano and tenor
 Open structure: an octave or more between soprano and tenor

3.2 VOICE CROSSING

do not allow voices to cross each other line

3.3 SPACING
the voice line should not ascend or descend for more than an octave

 ranges of the voices:

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3.4 MOTION

3.4.1 relations between voices should be considered

3.4.2 parallel motion between voices is forbidden in 5th and 8th

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3eds and 6th however is okay.

3.4.3 There are some okay 5th and 8th in parallel motion

 A- the soprano and tenor do not move to new pitch classes

 B- the 5ths do not occur between the same pair of voices
 C- the parallel 4ths in are allowed

3.4.4 Contrary 5th and 8th are considered parallel 5th

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However, contrary octaves are okay in Cadence

Bass outline 5-1

3.4.5 Unequal 5th is okay

3.4.6 hidden 5th or 8ve are forbidden

results when the outer parts move in the same direction into a P5 or P8, with a
leap in the soprano part.
If it is just a step in the soprano voice then it is okay

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Notice that in piano writing parallel are not considered in the bass accompaniment
e.g., Mozart, Piano Sonata K. 284, III

So, to sum it up

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4 PART WRITING

4.1 ROOT POSITION

4.1.1 4th to 5th

4.1.1.1 Common tone held, stepwise motion for the rest

4.1.1.2 3 upper voices move in the same direction, no leaps larger than 3ed

4.1.1.3 Common tone held, 3ed of I leap to 3ed of V and vice versa (open to close)

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Three-part structure
Each chord needs to have at least the root and 3ed

4.1.2 3ed to 6th

4.1.2.1 Two common tones held, stepwise opposite to the bass

Three-part structure
Don’t omit the 5th

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4.1.3 2ed to 7th

 All parts move contrary to the bass
 Leading tone move from 7 to 1 (in inner voices might move to 6 in Major )
 This result in a double 3ed in VI (vi)
 Avoid 2ed +

Three-part structure
 A complete triad to 3ed and two roots and visa versa.
 Leading tone move from 7 to 1 (in inner voices might move to 6 in Major)

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4.2 FIRST INVERSION POSITION

4.2.1 four-part structure

 doubling between the soprano and inner voice
 no doubling in leading tone (7)
 7 to 1

4.2.2three-part structure
 5 is omitted
 If the first is omitted they should have the same function
V and I6 is dominant / IV and ii6 is predominant

4.3 SECOND INVERSION POSITION

four-part structure
 double the 5th
 smooth moving
three-part structure
all parts precent

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