Voice-Leading (Traditional)

Overview: The rules for voice leading are very similar to those of species counterpoint.  In fact, it is wise to keep species counterpoint "in the back of your head," at all times because species counterpoint can be shown to be a powerful force that plays an important role in even the most apparently eclectic musical style.

2.1 Goals

It is important to remember when writing music (ANY music) that melodies that can be sung easily can also be heard easily; the melodies that fit this criteria generally are considered pleasing and "good," while melodies that don't are quickly forgotten (not that this is a bad thing). 

In other words, sing everything you write!  If you can't sing it, chances are the melody is either beyond your comprehension (in other words, it might be just too complicated) or it is too jumpy or disconnected for it to make musical sense. 

The ultimate goal of exercises like this is to create music that is pleasing, interesting, and functional.

The rules presented here are in no way designed to restrict your ability; in fact, they will help you understand some universal musical materials while giving you important hands-on experience with the manipulation of pitches.

2.2 Single Line Guidelines

For any single line (whether it be bass, tenor, alto, soprano, or other instrument) try to adhere to the following general restrictions:

• Large leaps are difficult to sing (and hear, and play) and should generally be limited in use.  Stepwise motion and smaller intervals are preferable.  A rule of thumb is "The larger the interval, the less it gets used," and will help you create more intelligible musical lines.
   
• Triadic melodies are pleasing, but annoying.  A simple way to create nice melodies is to use a lot of triads.  People understand triads and will be able to understand what you are doing immediately.  The disadvantage to this is that a lot of interest is destroyed after about the third triadic arpeggiation, so limit yourself here.
   
• Augmented or Diminished intervals are likewise difficult.  The augmented fourth was once referred to as "the devil in music," because of this difficulty.  Avoid these types of intervals whenever possible.
   
• Sequence, Sequence, and Sequence.  The use of sequence in your melodies will create an intelligent and catchy line that people will want to hear again and again. 

2.3 Combining Three or More Parts

The rules above will apply even when you have a three or four part texture.  When generating music in this style, remember that each part is a melody that should hopefully be sung or played at some time.  The care you take in making sure your melodies all work horizontally will definitely pay off when you build chord structures and harmonies.

2.4 Restrictions on Multipart Composition (3 and 4 voices in the chorale style)

Ideally, a composition in this style will exhibit a) good harmonic progression and b) independent and interesting melodies combined to create a composition that can be listened to "vertically" or "horizontally."

• The following rules will help you do this:
   
• Perfect intervals (such as P5 and P8) are special and should be treated with care.  Do not move from one perfect interval to another (in the same pair of voices).  This is the famous "no parallel octaves (or 5ths)" rule.
   
• Be certain all members of the triad are present in each verticality (chord).
   
• Voice leading has precedence over chord spelling.  In other words, be certain all members of the chord are present.  In some rare situations it may be necessary to omit a member of the triad, especially if voice leading dictates it.

  © Copyright 2012 TD Meyer and www.hammondjazz.com