Voice Leading in Four Voices

1
Voice Leading in Four Voices
Rich Harris Jr
2
Root Position

• When two roots lie a P5 or a P4 apart
• Keep common tone ( tone shared by both triads)
  and move remaining two upper voices.
• If done correctly the root of the chords will be
  doubled
• If you cant keep the common tone, move all three
  upper voices in similar motion to the nearest
  chord tone.

3

• When roots are a third apart
• Two common tones
• Keep common tones and move remaining upper voice
  stepwise

When roots are a second apart -No common
tones -Move three upper voices in contrary
motion to the bass -Make sure each voice moves
to the nearest chord tone of the next chord
Pg 162





4

• When roots are a second apart
• No common tones
• Move three upper voices in contrary motion to the
  bass
• Make sure each voice moves to the nearest chord
  tone of the next chord

When chords are repeated -Maintain proper
doubling -Range of voices -Keep the usual order
of voices
Pg 163
5

• Sometimes voice leading conditions make it
  impossible to apply stylistic practices

6
First Inversion Triads

• Use to
• Smooth bass line
• Provide melodic motion in repeated chords

Pg.164
7
Stylistic Practice for Voice Leading in First
Inversion Triads

• -Double any triad factor that provides smooth
  voice leading
• (these notes are commonly found in the soprano
  line and less commonly in the bass line)
• NEVER DOUBLE THE LEADING TONE
• - Diminished first-inversions double third or
  fifth

Pg 164
8
6/4 Chords

• Should be used with extreme caution because
  of its unstable nature
• Chord contains the interval of a fourth and
  cannot be used in the functional way that root
  and first-inversion triads are used.

Pg 165
9
6/4 Chords should be used in one of the following
ways only

• Cadential - tonic 6/4 chord resolves to the V
  chord at the cadence
• Passing Bass - the bass note (5th of the chord)
  acts as a passing tone.
• May be found as a tonic between the IV and IV6 or
  as a dominant between I and I6. Bass note is
  doubled.

Pg 165
10

• Arpeggiated Bass- Bass note (5th) participates in
  an arpeggiation of the same chord.
• Pedal Bass- (stationary bass or neighboring tone
  chords) Bass note (5th) is preceded and followed
  by the same tone and is scattered between two
  root positions of the same triad.

11
Summary for 6/4 Chords

• 1. Except under unusual circumstances, double
  the bass note (5th of chord)
• 2. Approach and depart from 6/4 chords with as
  few skips as possible
• 3. Only in arpeggiated 6/4 chords is the bass
  note approached or left by a skip
• 4. Use only cadential, passing bass, arpeggiated
  bass, and pedal bass

Pg 166
12
Unstylisitic DeparturesNo exceptions

• Avoid Parallel perfect octaves
• Parallel perfect fifths
• Parallel unisons

• Never double the leading tone
• Do not write pitches out of the range of that
  particular voice
• Avoid the melodic augmented second and fourth in
  all voices

Pg 166
13
Occasionally Broken RulesOnly broken if there is
no other alternative

1. Avoid crossing voices
2. Spacing between adjacent voices should not exceed
   an octave in the upper three voices
3. Do not overlap two adjacent voices more than a
   whole step
4. Do not move in the same direction to perfect
   intervals in the two outer voices. Such motion is
   thought by some theorists to create the effect of
   parallel perfect intervals

Pg 166
14

• 5. Unequal fifths, P5 to d5 or vice versa are
  found in chorale harmonizations and may be used
  sparingly.
• 6. The leading tone should progress upward to
  tonic when in an outer voice

Pg 166
15
Voice Ranges

• Keep all voices within their range