The APsolute RecAP: Music Theory Edition

It may seem like we went over voice leading in the previous episode, Soprano-Bass Counterpoint, but there are more rules that apply solely to music with SATB (or Soprano Alto Tenor Bass), seventh chord and seventh chord inversions.

Lets Zoom in:

SATB voice leading does not necessarily mean that it is music that has to be performed by vocalists. The labels are helpful when discussing where the voice part lands, instead of saying the highest, second highest, third from the top and the lowest. Those just aren’t specific enough terms, so we say soprano alto tenor bass. In some circumstances, we can split it up even more by saying soprano one and soprano two or soprano and mezzo soprano. The rules of Soprano-Bass Counterpoint are still in play here, like no voice crossing, unresolved leading tones, augmented intervals, diminished intervals, parallel fifths or parallel octaves, etc.

There are inherently at least four parts of SATB, so there has to be a doubled note for triad chord harmonies. If possible, the doubled note should be the root pitch, although the third can be doubled and fifth can be doubled if it works more naturally with voice leading rules. In any 6/4 second inversion triad chords, you must double the bass note. Speaking of inversions, they should be spelled out completely. Diminished fifths should avoid moving into a perfect fifth, a better option for voice movement with this could be going inward to a third. This rule’s exception is the progression with a diminished fifth moving into a perfect fifth: I V4/3 I6. Watch out for sneaky hidden fifths and octaves, when the outer voices are moving in a similar motion into these intervals. For SATB composers need to consider the limits of each part as they would be for the voice or instrument performing. Voice parts should not be more than an octave apart, except for the part closest to the bass line (which typically is the tenor voice). That can be more than an octave.

For seventh chord voice leading remember these rules...

Just because a seventh chord has four pitches, does not mean you have to include all four in SATB. One common form is to omit the fifth, and then double the root.

When moving into a seventh chord, it should have a common tone or a pitch that is only a step away. Then, those seventh chords should resolve by a descending step. Again, except for the chord progression where it resolves by ascending: I V4/3 I6.

Now let’s look at seventh chord inversion voice leading rules.

When a seventh chord is spelled out in an inversion, it leads to the bass line moving stepwise. A leading tone seventh chord will have a similar function to a dominant or dominant seventh chord.

If you are wondering how to get more practice in SATB voice leading you would not be surprised to hear me say to sing choral music. Take a look a Bach Cantata, or Handel’s Messiah, or most traditional hymns and you will have a much easier time remembering these rules when you have a lot of examples subconsciously in your brain. That way, when you listen to an example you may be able to find the flaw just by hearing that it sounds out of place.

To recap……

SATB mainly refers to the order of pitches that are organized for harmonies. Write out all inversion chords with the correct spelling. If you have to double a note, go for the root. Bass notes can be further than an octave from other voices. The progression I V4/3 I6 is a unique example that can break the rules.

Coming up next on the APsolute RecAP Music Theory Edition: Melodic, Rhythmic & Harmonic Dictation

Today’s Question of the day is about voice leading. Question: In the key of G major, how could you notate the progression I V43 I6?