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Thread: Voice leading question

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    Default Voice leading question



    The piece is in G minor and I want to go to Bb major(not modulate, just a small outlook) for 8 beats, and I'd use this progression, how could I improve the voice leading? Thanks for the answers.
    Sorry if it's not the correct forum, I'm new here and didn't know where to post.
    Last edited by ancore; Jan-11-2018 at 20:37.

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    Senior Member Phil loves classical's Avatar
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    I think the 2nd chord of the 4th bar is the end of your phrase, and with the treble rising to a G, the bass note should fall in opposite direction to a lower G, but you have it rising to the G. In counterpoint it is desirable to keep the voices moving in opposite directions more often than not.
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    Thanks for the answer!

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    In the second bar the second note of the bass might be better at D so it can rise to the E natural. Descending from B♭ to E natural is an "augmented jump" which is ungainly. Also, instead of descending all the way to G, the bass in the fourth bar might be good descending to B♭. Nice composition, thanks for posting your question!

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    BTW to improve your voice leading it is essential to study "First Year Harmony" by William Lovelock, which is available at a surprisingly low price from your favorite book-seller.

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    Thanks for the answer, I'm studying that book now. I got a question tho, is this motion P5 going to D5 then resolving also bad?
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    Quote Originally Posted by ancore View Post
    Thanks for the answer, I'm studying that book now. I got a question tho, is this motion P5 going to D5 then resolving also bad?
    There is nothing wrong with examples you posted. That is an octave going to a minor 7th in the second example. Not sure how you got P5 and D5.

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    Thanks for the answer!

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    D (soprano) over A (tenor) is a 4th, or in this case an 11th (in other words P4, not P5). Inverted it becomes P5 (A over D).

    The example, shown in isolation, does not display parallel fifths.

    Harmony, melody, and rhythm all interact. What is a good chord on a strong beat, may be a bad chord on a weak beat, and vice versa.

    In the given example one might consider placing the tenor on F, instead of A, so that two voices move in each direction on each beat.

    It has to be heard (or at least imagined) in context, with realistic tempo, instruments and dynamics, to determine which note is more suitable, and this also depends on the intended effect or message of the composition.

    Good luck, please post more as it comes along!
    Last edited by martonic; Feb-17-2018 at 06:37.

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    Quote Originally Posted by ancore View Post
    Thanks for the answer, I'm studying that book now. I got a question tho, is this motion P5 going to D5 then resolving also bad?
    Oh, this is supposed to be a single four part progression, not two, two part examples? In that case, you need to connect all four staves!

    Yes, the boxed voice-leading is fine, especially since one of the voices in an internal one. With examples like this you should include more context, like what the overall key is and where in a larger phrase it occurs. Is this V/V in G minor deceptively resolved? Or is the overall key B-flat?

    Your frogs make me shudder with intolerable loathing and I shall be miserable for the rest of my life remembering them.
    — Mikhail Bulgakov, The Fatal Eggs

    Originality is a device untalented people use to impress other untalented people and to protect themselves from talented people.
    — Basil Valentine

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    Here is the whole piece, almost finished.
    I think end of bar 7 and whole bar 8 could be written better, but I didn't find a way to a smoother voice leading.
    I'd appreciate of your constructive feedback and if you wish I can leave you for your work too.
    Last edited by ancore; Feb-17-2018 at 19:36.

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    It's really pretty, good job!

    In bar 7 the clarinet could just doodle B♭ - D (four times) instead of skipping to G at the third beat. The doubled third may sound stronger than the doubled root.

    In bar 8 I am missing the sound of A (the fifth of D7). The clarinet has a B flat for the first eighth note of beat 3 - why not try an A instead. To make this work you can also change the piano part in bar 8 (change the fourth and fifth notes from A - C to G - F#).

    The other thing that strikes me is the harmony in the first beat of bar 48 (at 2:50). One might try E flat major there instead of G minor. I suggest giving that a try to see if it works for you. The second beat will still be G minor, and the third beat C minor.

    Good stuff, thanks for posting!

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    Thanks! I've made the suggested and it's really working out, bar 48 is under progress. I've tried N6 there, but it doesnt really work out so will try Eb major

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    So this is the newest version, I'll only do some minor changes to it, and probably overview the dynamics,so if you have any ideas, feel free to tell me.

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    Beautiful! I really like the new extended coda. Wonderful.

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