Voice leading

Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint.[1]

$\n {\n \\new PianoStaff <<\n \\new Staff <<\n \\new Voice \\relative c'' {\n \\stemUp \\clef treble \\key e \\minor \\time 4/4\n \\partial4 a4 b8 a g4 fis e8 fis g4 a b \\fermata\n }\n \\new Voice \\relative c' {\n \\stemDown\n \\partial4 d4 d8 dis e4 dis e8 dis e[ g] fis e dis4\n }\n >>\n \\new Staff <<\n \\new Voice \\relative c' {\n \\stemUp \\clef bass \\key e \\minor \\time 4/4\n \\partial4 a g8 a b4 b b8 a b4 c fis,\n }\n \\new Voice \\relative c {\n \\stemDown\n \\partial4 fis4 g8 fis e4 b'8[ a] g fis e d c4 b_\\fermata\n }\n >>\n >> }\n$

A phrase in J. S. Bach's four-part chorale, Schau, lieber Gott, wie meine Feind (mm. 5–6). The four voices (SATB) each follow independent melodic lines (with some differences in rhythm) that together create a chord progression ending on a Phrygian half cadence.

Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. In Jazz Theory, Gabriel Sakuma writes that "[a]t the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music."[2] Marc Schonbrun also states that while it is untrue that "popular music has no voice leading in it, [...] the largest amount of popular music is simply conceived with chords as blocks of information, and melodies are layered on top of the chords."[3]

Voice leading

Decision-making consideration when arranging voices in musical composition / From Wikipedia, the free encyclopedia

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