Mt1 - {Tonal Harmony} Ch. 5: Principles of Voice Leading

Harmonic progression

Chords in tonal music are produced by the motions of individual musical lines, and the manipulation of these lines 

Voice leading/part writing 

Combining of relatively independent musical lines 

Counterpoint

Keep the rhythm simple, with most durations being equal to or longer than the duration of the beat, the final note should occur on a strong beat

Rhythm

Every melody note should belong to the chord that is to harmonize it

Harmony

The melody should be primarily, but not entirely conjunct

Contour

Highest note of the melody

Focal point

Tool used by composer, conductor, or analyst

Musical score

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

Full score 

How the notes of the chord are to be distributed or spaced

Voicing

Less than an octave between soprano and tenor

Close structure

An octave or more between soprano and tenor 

Open structure

When two parts that are separated by a P5 or a P8, or by their octave equivalents, move to new pitch classes that are separated by the same interval.

Objectionable parallels

A P5 is followed by a °5, or the reverse, in the same two voices

Unequal 5ths

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

Direct 5th or 8ve