Voice leading - Factbites

Voice leading - Factbites
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Topic: Voice leading

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	Voice leading - Wikipedia, the free encyclopedia
		In music, voice leading is the continuity between pitches or notes played
		voice " rises from E to F while the top "voice" rises from G to A, this being a way to "lead" those voices.
		Instead of thinking of the two successive chords vertically as separate, we are concentrating on the "horizontal" (temporal or linear) continuity between notes.
	en.wikipedia.org /wiki/Voice_leading

	CUTTING EDGE TO LEADING EDGE: Voice Technology Emerges
		Early buyers of voice were industry leaders who either were willing to take the initial risk of a new technology or could put enough weight and resources behind their choice to be fairly confident in attaining the results they sought.
		Voice, as the term is used here, comprises software applications in which a human operator (the user) interacts with some version of an automated aural communication system.
		Voice technology is not new, but distribution centers have been slow to adopt it.
	bg.opsandfulfillment.com /ar/fulfillment_cutting_edge_leading

	Voice-Leading for Dummies
		At the bottom of the page, arrange the tenor notes (in tenor clef) between lines 1 and 2, and the alto notes (treble clef) between lines 2 and 3 to produce smooth and harmonically-logical inner voices between the given soprano and bass.
	www.artsci.wustl.edu /~abauer/vldummies.htm

	Berklee Press - Catalog - Voice Leading for Guitar: Moving through the Changes
		Voice leading, moving individual chord voices smoothly from one chord to the next, is an essential skill for jazz guitarists.
		A book on voice leading is a needed step in the evolution of jazz guitar education, and John is the best man to write it.
		Master voice leading technique by playing along with the jazz tunes, blues, and rhythm changes on the accompanying CD Learn comping rhythms that work in blues, bebop, ballads, Latin, and other styles
	www.berkleepress.com /catalog/product?product_id=54838&category_id=19

	Voice Leading
		Direct octaves may be permitted in the outer voices if the soprano moves by step and the progression is IV-I or V-I. Direct fifths may be permitted in the outer voices if the soprano moves by step.
		The leading tone is never doubled, because this leads to parallel octaves, an undesirable effect (compare with the discussion on scales and tendency tones).
		Each part is referred to by the voice name:
	www.sprkershaw.net /music/voiceLeading.html

	Tom Pankhurst's TonalityGUIDE (pilot project): Template
		Leading notes have a tendency to resolve upwards by step and in some styles there are quite strict rules governing, for example, diminished seventh chords.
		The tension of the suspended c2 is the result of delaying the alto voice in a chord progession from I to V.
		In the example below, the c2 in the alto voice is prepared in the first chord, suspended in the second and resolved to b1 (downwards by step).
	www.tonalityguide.com /tkprescribed.php

	Music 15100, Harmony and Voice-Leading
		We shall eventually learn the syntactic contexts for each of these chords, as well as the proper voice leading associated with them, but for now the taxonomy of these critters should be enough to keep us busy.
		The text for the course is the third edition of Harmony and Voice Leading by Edward Aldwell and Carl Schachter, and Volume I of the Workbook for the text.
		I also stressed the importance of keeping in mind the profoundly vocal character of this counterpoint: to understand the exercises one must really sing through them (playing one voice on the piano, for instance), play them on the piano or guitar, and otherwise cultivate one's aural imagination for what they sound like.
	humanities.uchicago.edu /classes/zbikowski/15100.html

	ChopsFactory-Voice Leading
		When notes in one chord move to notes in the next chord in a progression in a musical and logical way, it is known as voice leading.
		To voice lead effectively, you need to be able to play chords in the same area of the neck, without having to jump from the third fret to the tenth and back, for instance.
		Many voicings will not (and shouldn't) have the root contained in them, and when they do, not in the extreme lower register.
	www.chopsfactory.com /jgcvoice.html

	Voicing and Voice Leading for the Contemporary Jazz Pianist
		Although "Voicing and Voice Leading for the Contemporary Jazz Pianist" was developed primarily for jazz pianists, it has proven to be an excellent source of information for other instrumentalists who wish to develop the fundamentals of keyboard harmony as a means of feeding their improvisational ideas on their own instruments.
		If for any reason you are dissatisfied with "Voicing and Voice Leading for the Contemporary Jazz Pianist" you may return it within 14 days for a full refund.
		Voicing and Voiceleading has been updated from the 181 page -- 205 notated example verzion that was released in 1983, to a new, information packed version containing 265 information packed pages with 376 notated examples.
	www.jazzbeat.com /html/voiceleading.html

	Voice Leading
		The upper voice of the left-hand pattern is a good example of step-wise voice leading providing the harmonic momentum within the same chord--as the 5th (G) moves through the 6th (A) up to the 7th(Bb) and back down again of the C7 chord.
		Voice leading in this context relies on the frequent stepwise motion of the stacked chords.
		Although the linear aspects of the progression become less apparent, the concept of watching and listening for the direction of individual voices in a chord progression is important in all musicmaking!
	hum.lss.wisc.edu /jazz/voice.leading.html

	VOICE-LEADING SPACE
		This paper studies networks of pitch-classes that model voice leading-the progression of pitches to form horizontal "voices" or "lines." While tonal voice leading depends on distinctions between step and leap, consonance and dissonance, chord-tone and embellishment, voice leading in post-tonal music simply and non-normatively describes the motions of pitches, one to another.
		After studying various transformations of the tonnetz, voice leading is implemented by the use of another type of compositional space, two-partition graphs.
		The result is a collection of voice - leading spaces, a new category of compositional space.
	www.societymusictheory.org /html/events/abstracts/smt-97.abstracts/morris.html

	Tone and Voice: A Derivation of the Rules of Voice-leading from Perceptual Principles
		Over the centuries, a number of theorists have explicitly suggested that voice-leading is the art of creating independent parts or voices.
		Huron (1989b) found that as the number of concurrent voices in a polyphonic texture increases, expert listeners are both slower to recognize the addition of new voices, and more prone to underestimate the number of voices present.
		The question of whether the ear has adapted to the voice or the voice has adapted to the ear is difficult to answer.
	music-cog.ohio-state.edu /Huron/Publications/huron.voice.leading.html

	Music Theory: Melody: Voice Leading
		Therefore, it is important to get your ears accustomed to hearing how tension and release is created through voice leading, so that it will come automatically to you on the bandstand.
		Here is an example of how voice leading techniques are used in a complete improvisation on a chord progression.
		Therefore, while this section discusses some common guidelines for voice leading, do not get locked into treating them as rules that must be followed.
	www.outsideshore.com /school/music/almanac/html/Music_Theory/Melody/Voice_Leading.htm

	Voice-leading for Roots a P4 Apart
		Have them copy the C in the upper voices into the C in the second chord (if the C is in the alto in the first chord, it should be repeated in the second chord).
		The remaining upper voice will move by step to complete the spelling of the chord with the root doubled (in our example the remaining voice will move by step from a G in the first chord to an F in the second chord).
		When this voice leaps, it is important to make sure that it does not "leap" out of its range.
	www.lessonplanspage.com /printables/PMusicWrite4PartHarmonyA4thApart912.htm

	About THE BOOK
		Goodchord is the Leading Voice of Voice Leading.
		The harmonies flow beautifully and the voice leading is almost Zen-like.
		With unbelievable voicings never heard before, new sounding arpeggios, and superb voice leading, Mick has brought us flying into the 21st Century!
	www.mrgoodchord.com /site/book.html

	Voice Leading for Guitar : Moving Through the Changes arminhammer.com
		Used Voice Leading for Guitar : Moving Through the Changes are in stock for only $14.00.
		The Voice Leading for Guitar : Moving Through the Changes is part of our discount Book catalog.
		Discount pricing is subject to change, in order to get the Book Voice Leading for Guitar Moving Through the Changes at this reduced price, you must buy now !
	arminhammer.com /amazon/asin.0634016555.Book_Voice_Leading_for_Guitar_Moving_Through_the_Changes.html

	MOZART'S USE OF RECURRING MELODIC PATTERNS AND VOICE-LEADING...
		The voice leading underlying these patterns resembles the note-against-note relationship found in the first species of counterpoint.
		This paper offers a modification of the network representation in which the structural voice leading of the passage plays a prominent role.
		Frequently, the intervallic relationship between the outer voices produces voice-leading paradigms--contrapuntal/harmonic formulae that consistently support recurring patterns.
	music-theory.org /html/events/abstracts/smt-96.abstracts/park.html

	Neapolitan
		In Example 11, which is adaptedted from Harmony and Voice Leading by Aldwell and Schachter, the altered voice leading in 11a for instance, results in parallel octaves and an augmented second.
		This technique can even be used to correct potential voice leading problems.
		The chromatic pitch is a tendency tone that increases the motion to its goal by acting as a leading tone.
	www.utexas.edu /courses/mus612b/fmain/fdocs/notes/neapolitan.html

	iBreatheMusic.com - The Poor Man's Guide to Voice Leading
		As we will find out later, sometimes parallel motion can be used very effectively to lead chords together, but for now let's concentrate on the more traditional form of voice leading.
		This is an example of what I think is pure perfection when it comes to voice leading: a standard blues turnaround.
		The lessons I learned about voice leading while studying classical music in college haven't changed since Bach.
	www.ibreathemusic.com /print/119

	Voice Leading - Basic Concepts
		When playing ii-V-I progressions, the simple type of voice leading shown on the previous web page has the Root moving in 5ths down (or 4ths up) while one voice on the treble clef moves and one does not move.
		As graciousy pointed out by jayemar in a post on the CharlieHunter.com Message Board, for those who are new to voice leading with 7th chords it helps to know that:
		Notice in the first measure of the example, the Dm chord is voiced D-F-C (R-3-7), then the G7 chord is voiced G-F-B (R-7-3), then the CM7 chord is voiced C-E-B (R-3-7).
	home.comcast.net /~bhardt2848/voice_ldg.html

	Harp Spectrum
		Finally, here is an example of lead sheet notation of a melody with chord symbols, in which the melody notes and chords from Example 4 are shown in a modern "fake book" sample in Example 5.
		Spelling (names of the notes) and voicing of chords (position of the notes in the chord) are left to the skill and ingenuity of the performer.
		Although it is not preferable for the final performance of the piece to continue in such a studious and predictable voicing, this example immediately illustrates all possible pitches available for a simple but rich harmonization.
	www.harpspectrum.org /pedal/pool_short.shtml

	vlp.htm
		Thus it is anticipated that the patterns identified and collated at the foreground and higher middleground levels may lead to the recognition of a vocabulary of chains of interconnected voice-leading patterns.
		A third goal of the study, really an outgrowth of the previous two, is to assess the manner in which these voice-leading patterns and chains of patterns coalesce into deeper structural patterns.
		Indeed, preliminary work is already beginning to show such results, and to indicate that some of these voice-leading patterns typically form identifiable chains that span larger structural units.
	www.humanities.mcmaster.ca /~renwick/vlp.htm

	First Voice, Leading
		Listening, Leading, the first of the three training levels of First Voice, is a one-day curriculum designed for supervisors of caseworkers who are concerned with helping foster adolescents prepare for independent living.
		have a leading plan to further the work involved in implementing the Foster Care Independence Act of 1999 and the John H. Chafee Foster Care Independence Program
		know some methods workers and foster parents can use in leading youth groups
	www.sc.edu /ccfs/dsstraining/FirstVoiceLeading.htm

	Tom Pankhurst's TonalityGUIDE (pilot project)
		Voice-leading describes the way in which individual parts or 'voices' interact, creating and embellishing the progression from one chord to another.
		Although the voice-leading in this example superficially looks more like Bach's chorale style, it is still highly uncharacteristic of his writing.
		it is characteristic for the individual voices in a Bach chorale to move predominantly by step (i.e.
	www.tonalityguide.com /tkvoiceleading.php

	Voice Leading and Theory Studies
		This is a perfect example of economy of motion and voice leading.
		Tutorial IV An interesting and essential relationship exists between the basic key related scale and the chords associated with the key.
		Notice the smooth and effortless transition from one chord to another.
	www.guitar-primer.com /Concepts/V-00.html

	Creators of the atomic bomb: debasing nuclear power into a totalitarian order in the new world
		However in 1945, just as it became inevitable that the bomb would be dropped, Leo Szilard underwent a miraculous religious conversion and became the leading voice in opposition to the use of the atom bomb, for both moral and political reasons.
		He was the most significant political voice for the physics community during the war, more so than Einstein because he was directly involved in the research which finally led to the physical creation of nuclear weapons.
		This will inevitably lead to a one-world society in which inter-racial marriage is the moral imperative, except for the Jews, who are already so thoroughly mixed that they don't require any instruction on this matter.
	www.heaven-words.com /4.htm

	iBreatheMusic.com - Voice-leading
		I'll begin by placing the notes of each line in the top voice of each one of my chords.
		You can also add your own voicings to the lines I've picked if mine don't thrill you.
		His musical history would include studies and performances with Pat Metheny, Gary Burton, Mick Goodrick, Bill Frisell, Wolfgang Muthspiel, and Jeff Berlin, as well as guest appearing on CD's with Mike Stern, Dan Gottlieb, and Bob Moses.
	www.ibreathemusic.com /print/52

	Voice Leading Guidelines
		of the chord is in the soprano, all three upper voices resolve down to a member of the tonic triad.
		(the bass note) and the upper voices (which are not common tones) downward.
		of the triad in the upper three voices.
	www.csub.edu /%7Ejscully/2003/fall/vlguide.html

	Guitar Tab Universe - Forum -> 03 - Advanced: Voice Leading
		The voice leading away from a triad with a doubled 3rd must be handled carefully because the conventions discussed thus far all assume doubled roots.
		In the major mode, if the leading tone or M7 is in an inner voice, it may be moved down by step to an M6, as in the third example.
		I'm not against powerchord riffs at all, however, I hate the ones that are all in the same voicing, because they go against every voice leading theory rule in the book.
	www.guitartabs.cc /forum/index.php?showtopic=74251

	Re: Misleading Voice Leading
		Well one area where shell voicings sound thin as accompaniment to a melody is when the melody itself is the 3rd or the 7th of the chords, as happens frequently in ATTYA.
		Honestly, I find > this voicing too sparse, and it does not seem to be harmonically > complete, especially when you are playing thick and lush slow ballads > like "Misty" or "All The Things You Are".
		These voicings do not give you any type of a well thought out bass line but they do sound more or less complete.
	www.talkaboutthemusic.com /group/rec.music.makers.jazz/messages/31401.html

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