CHAPTER 5: Principals of Voice Leading 

The Melodic Line: 
  1. Rhythm: Keep rhythm simple with most durations being equal to or longer than the duration of the beat. The final note should occur on a strong beat.
  2. Harmony: Every melody note should belong to the chord that is to harmonize it. 
  3. Contour: The melody should be primarily conjunct (stepwise). The shape of the melody should be interesting but cleat and simple, with a single focal point, the highest note of the melody. 
  4. Leaps: 
  • Avoid augmented intervals, 7ths, and intervals larger than a P8. Diminished intervals may be used if the melody changes direction by step immediately after the interval. 
  • A melodic interval larger than a P4 is usually best approached and left in the direction opposite to the leap.
  • When smaller leaps are used consecutively in the same direction, they should outline a triad. 
   5.  Tendency Tones: In tonal music, 7 has a strong tendency to move up to 1. An exception to this is the scale wise line descending from 1: 1-7-6-5. The only other tendency tone that needs to be considered is 4, which often moves down to 3, but not with the regularity with which 7 goes to 1. 


GENERAL RULES OF MELODY:
1.     Avoid augmented intervals, 7ths, intervals larger than 8ves.
2.     Diminished intervals allowed if melody changes direction by step in opposite direction.
3.     Intervals larger than P4 approach and leave in opposite direction by leap.
4.     Smaller leaps in same direction outline a triad.
5.     7 moves to 1. 4 moves to 3. 1-7-6-5 is ok.

Voicing: how the chord is distributed or spaced.
  1. Close Structure: Less than an octave between Soprano and Tenor.
  2. Open Structure: An octave or more between Soprano and Tenor.
  3. Crossed Voices: No parts cross above Soprano or below Bass. Alto and Tenor can cross briefly.

Spacing: Keep adjacent upper parts within an octave.


Voice Ranges: 
Soprano: C4 – G5
Alto: G3 – D5
Tenor: C3 – G4
Bass: E2 – C4

INTERVALLIC  MOVEMENT:
  1. Static: Neither parts move.
  2. Oblique: Only one part moves.
  3. Contrary: Both move in opposite directions.
  4. Similar: Both move in same direction by different intervals.
  5. Parallel: Both move in same direction by same interval.

Objectionable Parallels: When 2 parts that are separated by a P5 or P8 (or octave equivalents) move to new pitch classes that are separated by the same interval.

Parallels are ok IF:
1.     They do not move to new pitch classes.
2.     Do not occur between same pair of parts.
3.     They are P4.


Do not “fix” parallels by moving one note up or down an octave.

Unequal 5ths: When a P5 is followed by a °5, or the reverse, in the same two voices.
                        
Avoid °5 to a P5 between Bass and another voice.

Direct (Hidden) 5th or 8ve: when outer parts move in the same direction into a P5 or P8 with a leap in the Soprano part.

Direct 5ths/8ves are ok when:

1.     It involves Bass and inner voices

2.     One of the outer voices moves by only a step.