147:
33:
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657:, transl. by E. Mann Borgese, ed. by Oswald Jonas, Chicago, The University of Chicago Press, 1954, p. ix; "Heinrich Schenker has shown the correct relationship between the horizontal and the vertical . His theory is drawn from a profound understanding of the masterpieces of music . Thus he indicates to us the way: to satisfy the demands of harmony while mastering the task of voice-leading,"
116:, Dariusz Terefenko writes that "t the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music." Marc Schonbrun also states that while it is untrue that "popular music has no voice leading in it, the largest amount of popular music is simply conceived with chords as blocks of information, and melodies are layered on top of the chords."
317:
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second interval altogether; finally both means can be used in combination. Such procedures yield a kind of wave-like melodic line which as a whole represents an animated entity, and which, with its ascending and descending curves, appears balanced in all its individual component parts. This kind of line manifests what is called melodic fluency .
1419:
441:. In organ registers, certain interval combinations and chords are activated by a single key so that playing a melody results in parallel voice leading. These voices, losing independence, are fused into one and the parallel chords are perceived as single tones with a new timbre. This effect is also used in orchestral
455:
starting in part/verse 5, measure 95 the parallel parts of flutes, horn and celesta resemble the sound of an electric organ. In counterpoint, parallel voices are prohibited because they violate the homogeneity of musical texture when independent voices occasionally disappear turning into a new timbre
526:
perspective on these roles shifts the discussion somewhat from "outer and inner voices" to "upper and bass voices." Although the outer voices still play the dominant, form-defining role in this view, the leading soprano voice is often seen as a composite line that draws on the voice leadings in each
359:
taught "one cannot pass from one note to another but by that which is closest." In the 19th century, as music pedagogy became a more theoretical discipline in some parts of Europe, the 18th-century rule of thumb became codified into a more strict definition. Organist Johann August DĂĽrrnberger coined
396:
If one wants to avoid the dangers produced by larger intervals , the best remedy is simply to interrupt the series of leaps – that is, to prevent a second leap from occurring by continuing with a second or an only slightly larger interval after the first leap; or one may change the direction of the
335:
in individual parts, intervals between parts, the direction of the movement of the voices with respect to each other, etc. Whether dealing with counterpoint or harmony, these conventions emerge not only from a desire to create easy-to-sing parts but also from the constraints of tonal materials and
470:
A modern perspective on voice leading in mm. 3–7 of J. S. Bach's Little
Prelude in E minor, BWV 941. From the last chord of each measure to the first chord of the next, all melodic movements (excepting those in the bass) are conjunct; inside each measure, however, octave shifts account for a more
378:
according to the law of the shortest way, that is, if the root progresses upwards, the accompanying parts must move downwards, or inversely, if the root progresses downwards, the other parts move upwards and, in both cases, to the note of the following chord closest to
770:
Quand on jouë sur la Basse pour accompagner, les
Parties superieures pratiquent tous les Accords qui peuvent ĂŞtre faits sans quitter la corde oĂą ils se trouvent; ou bien elles doivent prendre ceux qu'on peut faire avec le moindre intervalle, soit en montant soit en
243:
Schenker indeed did not present the rules of voice leading merely as contrapuntal rules, but showed how they are inseparable from the rules of harmony and how they form one of the most essential aspects of musical composition. (See
535:
nonetheless also demonstrates such "3+1" voice leading, where "three voices articulate a strongly crossing-free voice leading between complete triads , while a fourth voice adds doublings," as a feature of tonal writing.
652:
shows voice-leading as the means by which the chord, as a harmonic concept, is made to unfold and extend in time. This, indeed, is the essence of music". Oswald Jonas, "Introduction" to
Heinrich Schenker,
152:
488:
515:. In this new Baroque style, the outer voices took a commanding role in determining the flow of the music and tended to move more often by leaps. Inner voices tended to move stepwise or repeat
1118:
Richard Cohn, "Neo-Riemannian
Operations, Parsimonious Trichords, and their 'Tonnetz' Representations", note 4, writes that the term "parsimony" is used in this context in Ottokar HostinskĂ˝,
404:, but this is the result of a somewhat inexact German translation. Cherubini only said that conjunct movement should be preferred. Franz Stoepel, the German translator, used the expression
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54:
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instead of actual pitches (i.e., neglecting octave shifts). Such analysis shows the deeper continuity underneath surface disjunctions, as in the Bach example from BWV 941 hereby.
1197:
289:
Western musicians have tended to teach voice leading by focusing on connecting adjacent harmonies because that skill is foundational to meeting larger, structural objectives.
364:
When a chord contains one or more notes that will be reused in the chords immediately following, then these notes should remain, that is retained in the respective parts.
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151:
507:
in the 1600s, part writing reflected the increasing stratification of harmonic roles. This differentiation between outer and inner voices was an outgrowth of both
437:, perfect intervals reached by any two voices moving in the same direction, even if not by the same interval, particularly if the higher of the two voices makes a
433:. To promote voice independence, melodic lines should avoid parallel unisons, parallel fifths, and parallel octaves between any two voices. They should also avoid
477:
1122:, Prag, H. Dominicus, 1879, p. 106. Cohn considers the principe of parsimony to be the same thing as the "law of the shortest way", but this is only partly true.
416:
is a common concept of German counterpoint theory. Modern
Schenkerians made the concept of "melodic fluency" an important one in their teaching of voice leading.
58:
542:
examines another facet of this principle. That theory decomposes movements from one chord to another into one or several "parsimonious movements" between
239:
The theory of voice leading is to be presented here as a discipline unified in itself; that is, I shall show how it everywhere maintains its inner unity.
1758:
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that are difficult to sing, approach and follow leaps with movement in the opposite direction, and correctly handle tendency tones (primarily, the
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993:
745:
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125:
1183:
351:
One of the main conventions of common-practice part-writing is that, between successive harmonies, voices should avoid leaps and retain
1598:
1070:
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Bartlette, Christopher, and Steven G. Laitz (2010). Graduate Review of Tonal Theory. New York: Oxford
University Press, pp. 47–50.
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958:
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371:), that is that each such part names the note of the following chord closest to itself if no forbidden succession arises from this.
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as much as possible. This principle was commonly discussed among 17th- and 18th-century musicians as a rule of thumb. For example,
486:
1450:
392:
and
Schenker, who both had followed his classes in Vienna. Schenker re-conceived the principle as the "rule of melodic fluency":
1190:
474:
1009:
Tanguiane (Tangian), Andranick (1994). "A principle of correlativity of perception and its application to music recognition".
36:
688:
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1751:
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conventions dictate that melodic lines should be smooth and independent. To be smooth, they should be primarily
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If no note at all is present in a chord which can be reused in the chord immediately following, one must apply
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201:(which are added even though the notes are actually whole notes). Notice that each voice consists of just
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All musical technique is derived from two basic ingredients: voice leading and the progression of
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65:) each follow independent melodic lines (with some differences in rhythm) that together create a
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notes: from top to bottom, (1) E F — E; (2) C D — C; (3) G A G —; (4) E D — E; (5) C — B C. The
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Rigorous concern for voice leading is of greatest importance in common-practice music, although
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142:(simplified versions) intended to clarify the harmony and implied voice leading, respectively.
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826:, trans. Roy E. Carter. Belmont Music Publishers, 1983, 1978 (original quote 1911). p. 39.
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988:. Lecture Notes in Artificial Intelligence. Vol. 746. Berlin-Heidelberg: Springer.
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834:. Schoenberg writes: "Thus, the voices will follow (as I once heard Bruckner say) the
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On ne peut passer d'une Notte Ă une autre que par celle qui en est la plus voisine
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626:, vol. I, translated by J. Rothgeb and J. Thym, New York, Schirmer, 1987, p. xxv.
150:
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A Geometry of Music: Harmony and
Counterpoint in the Extended Common Practice
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A Geometry of Music: Harmony and
Counterpoint in the Extended Common Practice
17:
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138:, Book 1. Letter (a) presents the original score while (b) and (c) present
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chords result from the fact that the voices do not move at the same time.
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Decision-making consideration when arranging voices in musical composition
1680:
1607:
1471:
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237:. Of the two, voice leading is the earlier and the more original element.
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Viennese
Harmonic Theory from Albrechtsberger to Schenker and Schoenberg
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Vorlesungen über Harmonielehre und Kontrapunkt an der Universität Wien
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The parts which do not remain, follow the law of the shortest way (
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also demonstrate attention to voice leading to varying degrees. In
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McAdams, S. and Bregman, A. (1979). "Hearing musical streams", in
1049:
Gamut: The Journal of the Music Theory Society of the Mid-Atlantic
855:, J. Rothgeb and J. Thym transl., New York, Schirmer, 1987, p. 94.
484:
472:
465:
868:, bilingual ed. French/German, Leipzig and Paris, c. 1835, p. 7.
799:, E. Schwanzara ed., Vienna, 1950, p. 129. See Robert W. Wason,
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the term "rule of the shortest way" for it and delineated that:
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conventions likewise consider permitted or forbidden melodic
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Nouveau traité des regles pour la composition de la musique
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In (c), the four measures are presented as five horizontal
89:
or parts) and their interaction with one another to create
1291:
1141:
3(4): 26–44 and in Roads, C. and Strawn, J., eds. (1985).
764:. An even earlier version can be found in Charles Masson,
531:. Approaching harmony from a non-Schenkerian perspective,
1428:
269:
Audio playback is not supported in your browser. You can
85:) is the linear progression of individual melodic lines (
38:
Audio playback is not supported in your browser. You can
1145:, p. 658–698. Cambridge, Massachusetts: MIT Press.
217:
Voice leading developed as an independent concept when
803:, Ann Arbor, London, UMI Research Press, 1985, p. 70.
784:
Elementar-Lehrbuch der Harmonie- und Generalbass-Lehre
343:
These conventions are discussed in more detail below.
758:
Traité de L'Harmonie Reduite à ses Principes naturels
124:
The score below shows the first four measures of the
423:
should be avoided except to create melodic interest.
1051:, vol. 8, iss. 1, article 6, p. 118, Example 13a.
93:, typically in accordance with the principles of
974:, revised edition, Norton & Co, 1948, p. 25.
907:, 3rd ed., Oxford University Press, 2011, p. 17.
160:In (b), the same measures are presented as four
1160:Voice Leading: The Science Behind a Musical Art
1063:Analysis of Tonal Music: A Schenkerian Approach
394:
349:Move each voice the shortest distance possible.
231:
1094:. New York: Oxford University Press. pp.
679:(5th ed.). Boston: McGraw-Hill. pp.
1752:
1592:
1444:
1307:
1191:
8:
890:See for instance Johann Philipp Kirnberger,
986:Artificial Perception and Music Recognition
919:The Musician's Guide to Theory and Analysis
894:, vol. II, Berlin, Königsberg, 1776, p. 82.
336:from the objectives behind writing certain
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951:The Complete Idiot's Guide to Music Theory
565:The Musicians Guide to Theory and Analysis
579:Jazz Theory: From Basic to Advanced Study
892:Die Kunst des reinen Satzes in der Musik
321:). To be independent, they should avoid
252:Common-practice conventions and pedagogy
1120:Die Lehre von den musikalischen Klangen
1061:Cadwaller, Allan; Gagne, David (2010).
984:Tanguiane (Tangian), Andranick (1993).
671:Kostka, Stefan; Payne, Dorothy (2004).
555:
917:Marvin, Elizabeth West (2011-01-01).
740:. New York: Oxford University Press.
527:of the upper voices of the imaginary
7:
760:, Paris, 1722, Book 4, pp. 186–87:
471:complex parsimonious voice leading.
246:Schenkerian analysis: voice leading
197:identified by the direction of the
59:Schau, lieber Gott, wie meine Feind
1168:– The Contrapuntal Formula of Dr.
903:Cadwallader, Allen; Gagné, David.
25:
639:, vol. I, transl. (1987), p. xxx.
1417:
1280:
866:Cours de Contrepoint et de Fugue
600:The Everything Music Theory Book
400:Schenker attributed the rule to
315:
307:
148:
1162:by David Huron, 2016, MIT Press
768:, Paris, Ballard, 1705, p. 47:
1:
1143:Foundations of Computer Music
602:, pp. 149, 174. Adams Media.
1172:" by Jeff Lee, shipbrook.net
782:DĂĽrrnberger, Johann August.
313:, which often moves down to
266:
221:stressed its importance in "
61:(mm. 5–6). The four voices (
35:
1065:. Oxford University Press.
577:Terefenko, Dariusz (2014).
430:parallel fifths and octaves
323:parallel fifths and octaves
1892:
1384:List of chord progressions
563:Clendinning, Jane (2011).
369:Gesetze des nächsten Weges
1774:
1629:Consonance and dissonance
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1466:
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1217:
1086:Tymoczko, Dmitri (2011).
736:Tymoczko, Dmitri (2011).
135:The Well-Tempered Clavier
949:Miller, Michael (2005).
851:, vol. I, 1910, p. 133;
598:Schonbrun, Marc (2011).
384:This rule was taught by
284:in the two lower voices.
1686:Otonality and utonality
905:Analysis of Tonal Music
836:law of the shortest way
756:Rameau, Jean-Philippe.
456:quality and vice versa.
271:download the audio file
40:download the audio file
1789:Close and open harmony
1150:Voice Leading Overview
1138:Computer Music Journal
1043:MeeĂąs, Nicolas (2018)
567:. Norton. p. A73.
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494:
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399:
241:
540:Neo-Riemannian theory
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480:
469:
71:Phrygian half cadence
1876:Schenkerian analysis
1706:Schenkerian analysis
1701:Progressive tonality
1166:"Mathematical Musick
879:Schenkerian analysis
847:Schenker, Heinrich.
786:, Linz, 1841, p. 53.
635:Schenker, Heinrich.
581:, p. 33. Routledge.
524:Schenkerian analysis
953:, p. 193. Penguin.
445:; for instance, in
435:hidden consecutives
227:strict counterpoint
1644:Secondary function
864:Cherubini, Luigi.
820:Schoenberg, Arnold
620:Schenker, Heinrich
497:
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410:mouvement conjoint
297:(stepwise), avoid
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1639:Diatonic function
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1359:Chord progression
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1105:978-0-19-533667-2
995:978-3-540-57394-4
824:Theory of Harmony
795:Bruckner, Anton.
746:978-0-19-533667-2
726:978-0-19-537698-2
711:Kostka, p. 71–72.
490:
478:
414:FlieĂźender Gesang
412:. The concept of
406:FlieĂźender Gesang
275:
225:", as opposed to
223:free counterpoint
219:Heinrich Schenker
153:
67:chord progression
44:
16:(Redirected from
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533:Dmitri Tymoczko
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376:contrary motion
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1379:List of chords
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1154:Harmony.org.uk
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1017:(4): 465–502.
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425:
421:Voice crossing
417:
381:
380:
372:
365:
361:
345:
282:parallel fifth
280:An example of
279:
268:
265:
263:
262:
261:
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250:
214:
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184:
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48:
37:
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14:
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6:
4:
3:
2:
1888:
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1861:Voice leading
1859:
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1840:Voice leading
1838:
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1804:Root position
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1726:Voice leading
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1409:Voice leading
1407:
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1400:
1397:
1395:
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1385:
1382:
1380:
1377:
1375:
1374:Harmonization
1372:
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1362:
1360:
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1335:
1334:Accompaniment
1332:
1331:
1328:
1324:
1317:
1312:
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1305:
1303:
1298:
1297:
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1272:Voice leading
1270:
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959:9781592574377
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928:9780393930818
924:
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837:
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832:0-520-04944-6
829:
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809:0-8357-1586-8
806:
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727:
723:
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714:
708:
705:
700:
696:
692:
686:
682:
677:
676:
675:Tonal Harmony
667:
664:
660:
656:
651:
645:
642:
638:
632:
629:
625:
621:
616:
613:
609:
608:9781440511820
605:
601:
595:
592:
588:
587:9781135043018
584:
580:
574:
571:
566:
559:
556:
549:
547:
545:
544:pitch classes
541:
537:
534:
530:
525:
520:
518:
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468:
461:
454:
453:
448:
444:
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436:
432:
431:
426:
424:
422:
418:
415:
411:
408:to translate
407:
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326:
324:
318:
310:
304:
300:
296:
292:
283:
272:
256:
251:
249:
247:
240:
236:
235:scale degrees
230:
228:
224:
220:
212:
210:
208:
204:
200:
196:
191:
167:
163:
145:
144:
143:
141:
137:
136:
131:
127:
119:
117:
115:
111:
107:
102:
100:
96:
92:
88:
84:
80:
79:Voice leading
72:
68:
64:
60:
56:
53:'s four-part
52:
41:
19:
18:Voice-leading
1839:
1779:Blind octave
1725:
1721:Tonicization
1696:Polytonality
1691:Parallel key
1651:Figured bass
1565:
1470:
1408:
1404:Simultaneity
1339:Alberti bass
1271:
1207:Counterpoint
1159:
1153:
1142:
1136:
1119:
1114:
1089:
1081:
1062:
1056:
1048:
1045:"Ăśbergreifen
1039:
1014:
1010:
1004:
985:
979:
971:
966:
950:
945:
918:
912:
904:
899:
891:
886:
873:
865:
860:
853:Counterpoint
852:
848:
843:
835:
823:
815:
800:
796:
791:
783:
778:
769:
765:
761:
757:
752:
737:
732:
716:
707:
674:
666:
658:
654:
649:
648:" theory of
644:
637:Counterpoint
636:
631:
624:Counterpoint
623:
615:
599:
594:
578:
573:
564:
558:
538:
521:
517:common tones
498:
450:
443:arrangements
427:
419:
413:
409:
405:
395:
383:
368:
353:common tones
348:
342:
329:Contrapuntal
327:
303:leading-tone
288:
242:
232:
229:. He wrote:
216:
206:
202:
192:
162:block chords
159:
133:
123:
113:
103:
99:counterpoint
97:harmony and
83:part writing
82:
78:
77:
69:ending on a
49:A phrase in
1866:Arrangement
1826:inversions)
1794:Common tone
1784:Block chord
1711:Sonata form
1676:Neotonality
849:Kontrapunkt
505:Baroque era
501:Renaissance
114:Jazz Theory
1855:Categories
1671:Modulation
1344:Banjo roll
771:descendant
690:0072852607
550:References
390:Schoenberg
164:(with two
140:reductions
51:J. S. Bach
1808:Inversion
1556:Ululation
1364:Four-part
1247:Imitation
1211:polyphony
937:320193510
513:homophony
493:Reduction
402:Cherubini
333:intervals
168:): I – II
130:J.S. Bach
110:pop music
91:harmonies
1871:Tonality
1799:Doubling
1681:Ostinato
1608:Tonality
1552:(figure)
1535:Sequence
1520:Phrasing
1503:Ornament
1483:Interval
1472:Balungan
1399:Sequence
1252:Ricercar
1031:40285634
699:51613969
661:, p. xv.
529:continuo
509:tonality
481:Original
386:Bruckner
338:textures
295:conjunct
166:inverted
1619:Cadence
1515:Pattern
1488:Melisma
1478:Cadence
1349:Cadence
1323:Harmony
1262:Subject
972:Harmony
655:Harmony
499:As the
213:History
120:Example
55:chorale
1830:Octave
1824:higher
1822:, and
1545:Timbre
1530:Rhythm
1460:Melody
1102:
1069:
1029:
992:
957:
935:
925:
830:
807:
744:
724:
697:
687:
606:
585:
452:Boléro
428:Avoid
357:Rameau
195:voices
87:voices
1835:Voice
1561:Voice
1525:Pitch
1508:Trill
1498:Motif
1394:Pitch
1354:Chord
1267:Voice
1257:Round
1242:Fugue
1227:Catch
1222:Canon
1098:–07.
1027:JSTOR
447:Ravel
379:them.
299:leaps
203:three
199:stems
190:– I.
128:from
1806:and
1550:Type
1389:Note
1209:and
1100:ISBN
1067:ISBN
990:ISBN
955:ISBN
933:OCLC
923:ISBN
877:See
828:ISBN
805:ISBN
742:ISBN
722:ISBN
695:OCLC
685:ISBN
604:ISBN
583:ISBN
511:and
207:four
108:and
106:jazz
81:(or
63:SATB
1820:3rd
1816:2nd
1812:1st
1661:Key
1152:",
1096:204
1047:",
1019:doi
659:id.
449:'s
388:to
248:.)
179:– V
132:'s
1857::
1818:,
1814:,
1025:.
1015:11
1013:.
931:.
838:".
822:,
693:.
683:.
681:78
622:.
522:A
519:.
340:.
325:.
101:.
57:,
1810:(
1760:e
1753:t
1746:v
1600:e
1593:t
1586:v
1452:e
1445:t
1438:v
1315:e
1308:t
1301:v
1199:e
1192:t
1185:v
1156:.
1148:"
1108:.
1075:.
1033:.
1021::
998:.
961:.
939:.
881:.
773:.
701:.
610:.
589:.
273:.
185:5
174:2
73:.
42:.
20:)
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