AP Music Theory - Chapter 5: Principles of Voice Leading

Textbook: Tonal Harmony with an Introduction to Post-Tonal Music (8th edition)

Basic rules

Basic rules

simple rhythm, melody note matches chord, as few jumps as possible, make consecutive leaps arpeggios, up 4 then down 1

Rhythm

• keep it simple

• most durations equal to or longer than the duration of the beat

• final note should occur on a strong beat

Harmony

• every melody should belong to the chord that is to harmonize it (basically, every note of the melody should be a part of the chord that is played with it)

Contour

• melody should be mostly stopwise

• shape of melody should be interesting but clear and simple

• one focal point (highest note)

Leaps

• avoid augmented intervals, 7ths and any intervals larger than P8 - diminished intervals are okay if the melody changes direction by stop immediately after the interval

• intervals of P4 and larger need to be followed by a second going the opposite direction to the leap

  • smaller leaps used consecutively in the same direction should outline a triad

Tendency tones

• 7th degree has a strong tendency to move up to 1st degree

  • 4th degree has a strong tendency to move down to 3rd degree - not as common

Close structure

less than P8 between soprano and tenor

Open structure

P8 or more between soprano and tenor

Soprano range

C4 - G5

Alto range

G3 - D5

Tenor range

C3 - G5

Bass range

E2 - C4

Full score

all or most of the parts are notated on their own individual staves

Reduced score

notated at concert pitch on as few staves as possible - essentially condensed full score

Parallel 5ths and 8ths

two voice parts move in P5 or P8 in same direction at same time

Contrary 5ths and 8ths

two voice parts move in P5 or P8 in different directions at same time

Direct 5ths and 8ths

the outer parts move in the same direction into P5 or P8 with a leap in the soprano part and a leap or step in the bass

Unequal 5ths

when a P5 is followed by a diminished 5 or when a diminished 5 is followed by a P5

Static

neither part moves

Oblique

only one part moves

Contrary

both move, but in opposite directions and in different intervals

Similar

both move in same direction but by different intervals

Parallel

both move in same direction by same the interval

Score order

woodwinds, brass, percussion, strings

Triad inversion symbols

• first inversion: 6

• second inversion: 6 / 4

7th chord inversion symbols

• root: 7

• first inversion: 6 / 5

• second inversion: 4 / 3

• third inversion: 4 / 2