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Showing results for tags 'voice leading'.
Found 5 results
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Hi all! It's been a while since I've been on... and I'm returning with a question about Fux's counterpoint from Alfred Mann's The Study of Counterpoint: Are the solutions to each of Aloysius' examples (with corrections) the only acceptable solutions? In attempting to complete the very first exercise (first species counterpoint on the given cantus firmus, in the bottom voice, in dorian mode), I find there are good reasons to rule out most of the consonances that could be considered. However, I don't know if there are hard and fast rules which make the answers that Joseph gives the -
I wrote this as a part-writing exercise, recorded the audio and paul-stretched it. Then I added some paul-stretched finger snaps and hand noises with a little reverb and equalizing. I was pleasantly surprised by how enjoyable this was! :) I've uploaded a pdf of the chorale I used for anyone who's curious. Any comments about either my finished product of the chorale would be welcome, I'm using chorale writing as a "workout" to strengthen some skills I've been working on. p.s the sound you hear @ 1:18 is the school bell ringing... I caught it as I was recording. It surprised me when I
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So, when I first started theory I was told that retrograde (movement from a dominant function chord to a pre-dominant function chord) was strictly forbidden in common practice harmony. However, while working through Hindemith's "Traditional Harmony" I found that several of Hindemith's prescribed progressions in the exercises have retrograde progressions. So, is retrograde strictly forbidden? Are there exceptions? Am I just stupid? Discuss. -
Why do we avoid the augmented second between 6 and 7 in harmonic minor in voice leading? I always get called on this in my compositions, but I use that interval on purpose. It sounds so expressive and pulls so strongly to tonic, why avoid it? It's not like singers can't sing it now. Contemporary singers should find an augmented second very easy to sing. It isn't hard on any instrument. So why? Why do we avoid the augmented second in voice leading?
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TL;DR underneath. When I first learned things about harmony and voice leading, I learned to avoid parallel and direct fifths and octaves, to avoid dissonances, and things like that, because they're against the rules. I reasoned that the rules weren't arbitrary, so they had to be there for a reason; people want their music to be likeable, things that sound bad aren't likeable, therefore, invent rules to keep music from straying into the boundary of bad. But, as everyone knows, one of the first responses to that is, 'But that doesn't sound bad!', and the reply, 'It diminishes the independence
