The Name Game Pro Tip:
  1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
    Dismiss Notice
  2. You're only as good as the harshest criticism you're willing to hear.
    Dismiss Notice

Voice-leading: 3 parts to 4 parts, and back.

Discussion in 'Tips, Tricks & Talk' started by Stephen Limbaugh, Dec 31, 2021.

Page 2 of 2
  1. #21 Doug Gibson, Jan 4, 2022


    Well, leaving your notes exactly the same there is no need for the trouble. Treat the leap down as another voice entering.



    upload_2022-1-5_5-29-19.png


    The other issue you have is that the D in both the bass and melody on the 4/4 is weakening the tonal gravity. If your melody went Bb - A - Bb. then it wold be more "Traditional". Now, I am seeing the original intent of your question.

    The other reason why ducking down to A would work better, is it gives better voiceless to the 4/4. The A would create a false leading tone.

    upload_2022-1-5_5-41-21.png


    It all depends on how traditional you wish to go. If we are in the classical era, I hear your chord on the 4/4 as a Neapolitan 6th. So it's a pre-dominant and not an arrival. It would go toward a 6/4 cadence in A, which would be the 5 of your original idea.

    Remember...... you are the person walking yourself down the street on your own leash. That the beauty of being a composer
     
    Stephen Limbaugh likes this.
  2. #22 Stephen Limbaugh, Jan 4, 2022
    Last edited: Jan 4, 2022
    Ok this is cool. I *think* implementing Doug's points made herein, this is a satisfactory progression of the 5 parts up to the 2/4 bar.


    Screen Shot 2022-01-04 at 1.28.28 PM.png


    The original/key question from the first post is in this new version (if this version satisfactory!) is the reduction from 5 to 4 parts, and the parallel 5ths in the trading/coalescing of the bass and baritone parts.



    Screen Shot 2022-01-04 at 1.49.58 PM.jpg



    And here is the analogy in Rota's il Gattopardo:
    EDIT: 32nds in soprano part are E and F#

    Screen Shot 2022-01-04 at 2.16.21 PM.jpg


    ....anyway, this is the heart of my inquiry. :)


    Screen Shot 2022-01-04 at 2.20.26 PM.jpg
     
  3. #23 Stephen Limbaugh, Jan 6, 2022
    Last edited: Jan 6, 2022
    On the advice of an excellent user here via PM, I found that the heart of the issue is identifying heterophony. In the Rota example, the baritone and tenor voice are the same... heterophonically. Then a doubling occurs with the soprano, but the whole passage is in fact 4 voices.


    Screen Shot 2022-01-06 at 5.12.48 PM.jpg
     
(You must log in or sign up to post here.)
Page 2 of 2

Share This Page