Harmony and Voice Leading¶
Aldwell, E., Schachter, Carl, Cadwallader, & Allen. (2011). Harmony and Voice Leading.
Cited by¶
6 citations across 6 artifacts.
Each citation links to the sentence it supports in the citing article.
Primes¶
- Dissonance
- In music, the home substrate, dissonance is the minor second and the tritone, the chord that implies movement to a stable consonance, and the modernist work that sustains dissonance as its very language.
This sourceThe tritone of the dominant-seventh chord is a dissonance that resolves outward to the tonic in tonal harmony — the textbook treatment of dissonance resolution.
- In music, the home substrate, dissonance is the minor second and the tritone, the chord that implies movement to a stable consonance, and the modernist work that sustains dissonance as its very language.
- Suspension
- Tonal music (canonical): a chord-tone held over a changing bass forms a dissonance on the strong beat and resolves down by step to a tone consonant with the new harmony — the rhythmic engine of voice-leading.
This sourceDefines the suspension (preparation, suspension/dissonance on the strong beat, resolution down by step), the 4–3 suspension, and the rules requiring preparation and stepwise resolution.
- Tonal music (canonical): a chord-tone held over a changing bass forms a dissonance on the strong beat and resolves down by step to a tone consonant with the new harmony — the rhythmic engine of voice-leading.
- Tension And Release
- The deliberate departure is the dominant chord (the V chord), which contains the leading tone and the dissonant seventh and is heard as unstable, "leaning" toward the tonic.
This sourceThe dominant-to-tonic cadence as built harmonic tension resolving to rest, the perfect authentic cadence as on-time resolution, and the deceptive cadence as a substituted (non-tonic) release.
- The deliberate departure is the dominant chord (the V chord), which contains the leading tone and the dissonant seventh and is heard as unstable, "leaning" toward the tonic.
Domain-specific¶
- Consonance
- The authentic cadence — a dominant-seventh chord whose tritone (the interval between the seventh and the third) resolves by contrary semitone motion into the tonic
This sourceHarmony textbook treatment of the dominant seventh, whose tritone between scale degrees 4 and 7 resolves inward to 3 and 1 in the authentic cadence.
Supported in partVerified against the work's full text
“"artificial" tritone between 4 and 7 that [resolves] to 1 and 3 as in major.”
- The authentic cadence — a dominant-seventh chord whose tritone (the interval between the seventh and the third) resolves by contrary semitone motion into the tonic
- Homophony
- The four-part Lutheran chorale harmonised by Bach is the most-studied paradigm for the technical management of homophonic voice leading: soprano carries the cantus firmus (the chorale melody), and the lower three voices move in subordinate support, their individual lines governed by the rules of voice leading — smooth contrary motion, avoidance of parallel fifths and octaves, proper doubling
This sourceThe standard harmony and voice-leading textbook, which works through four-part chorale settings and treats the soprano as the carrier of the main melodic line. The harmony textbook whose worked examples are Bach's four-part chorale harmonisations. The harmony textbook, in which the chorale soprano carries the tune and the lower voices supply the harmony beneath it.
Supported in partVerified against the work's full text
“exposed, voice, the [soprano] carries the main melodic line”
- The four-part Lutheran chorale harmonised by Bach is the most-studied paradigm for the technical management of homophonic voice leading: soprano carries the cantus firmus (the chorale melody), and the lower three voices move in subordinate support, their individual lines governed by the rules of voice leading — smooth contrary motion, avoidance of parallel fifths and octaves, proper doubling
Mechanisms¶
- Harmonic Suspension and Resolution
- The discipline is that every suspension must imply its resolution and be held only as long as the lean survives: the tension is a debt the resolution is obligated to pay, in the currency the setup named.
This sourceDescribes a suspension as a held or repeated tone that delays a chord tone and then resolves by voice leading.
- The discipline is that every suspension must imply its resolution and be held only as long as the lean survives: the tension is a debt the resolution is obligated to pay, in the currency the setup named.
Verification¶
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Links previously used in the corpus¶
Before the registry existed this work was also linked 3 other ways.
- https://search.worldcat.org/title/Harmony-and-voice-leading/oclc/942844251 ×1
- https://www.cengage.com/c/harmony-and-voice-leading-4e-aldwell-schachter-cadwallader/9780495189756/ ×1
- https://www.google.com/books/edition/Harmony_and_Voice_Leading/8fMHAAAAQBAJ ×1
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