MUTH: CH 7: Voice Leading I

Chorale

A hymn tune in which several stanzas of verse are sung to the same music, originated in the Lutheran Church during the sixteenth century

Voicing

The manner in which it's members are distributed among the various parts

Spacing

The difference between adjacent voices in a triad or other chord

Homogenous

The sound ideal for most four-part music is a ____________ blending of the soprano, alto, tenor, and bass, which is best achieved by keeping the three upper voices fairly equidistant from each other

Equidistant

The sound ideal for most four-part music is a homogenous blending of the soprano, alto, tenor, and bass, which is best achieved by keeping the three upper voices fairly ____________ from each other

Close structure

The soprano, alto, and tenor are as close together as possible

Octave

In close structure, the soprano and tenor are separated by less than an ______.

Open structure

The soprano, alto, and tenor are not as close together as possible; an octave or more separates the soprano and tenor

Either, or

To maintain a homogenous blend, do not allow the space of more than an octave between ______ soprano and altor __ the alto and tenor

1. Leading and chromatically altered tones because of instability

2. Chord tones that form augmented or diminished triads in an interval

What should not be doubled in a triad?

Root

What is the most common doubled tone in major and minor triads?

Fifth

On occasion, which chord tone may be doubled in major and minor triads?

First inversion

What position are augmented and diminished triads found in?

Third

What chord tone is doubled in augmented and diminished triads?

True

In root-position major and minor triads, and in augmented and diminished triads, double the bass unless it is the leading tone, a chromatic tone, or part of an unstable interval

contrary motion

Motion where the voices move in opposite directions

oblique motion

motion where one voice remains stationary while the other voice moves toward or away from it

similar motion

motin where the voices move in the same direction but by different intervals

parallel motion

motion where the voices move in the same direction by the same interval

not

No motion is ___ parallel motion

independent contours

In the choral harmonization, the soprano and bass move predominantly by contrary and oblique motion. This gives the outer lines ___________ _________ and it facilitates the part writing of the inner voices

common tones

For chord connection retain _______ _____

tonic

The leading tone appearing in the soprano or bass is usually resolved to the tonic

perfect fifths, octaves, unisons

Parallel _______, ________, _________ - formed when forming (answers) move to pitches that form an identical interval

avoided

The perfect unison moving to a perfect octave in the same two voices is to be _______ due to the nearly identical sound of these two intervals

allowed

When two voices forming a perfect fifth, octave, or unison remain stationary on their respective pitches, the consecutive intervals that result are _______ because the voices have not moved

lowest

Consecutive fourths between the two ______ voices are generally avoided

Voice crossing

This is avoided by maintaining the normal vertical disposition of the voices

Voice overlap

This is allowing a voice to move above the preceding pitch of a higher voice or below the preceding pitch of a lower voice, generally avoided