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Western Music Theory II:
Final Exam Preparation
Dr. James OgburnWednesday, 11 February 2015
Thursday, 19 February 15-17:00 Room A212
Final Exam Time & Place
Keep the common tone between chords
Voice-Leading:Basic Principles
Keep the common tone between chords Move the shortest distance within individual
voices
Voice-Leading:Basic Principles
Keep the common tone between chords Move the shortest distance within individual
voices Preferred doubling: 1) root, 2) fifth, 3) third
Voice-Leading:Basic Principles
Keep the common tone between chords Move the shortest distance within individual
voices Preferred doubling: 1) root, 2) fifth, 3) third Don’t double two different notes of the
chord
Voice-Leading:Basic Principles
Keep the common tone between chords Move the shortest distance within individual
voices Preferred doubling: 1) root, 2) fifth, 3) third Don’t double two different notes of the
chord Follow leaps larger than a third with
stepwise motion in the opposite direction
Voice-Leading:Basic Principles
Keep the common tone between chords Move the shortest distance within individual
voices Preferred doubling: 1) root, 2) fifth, 3) third Don’t double two different notes of the
chord Follow leaps larger than a third with
stepwise motion in the opposite direction Avoid leaps larger than a perfect fifth
Voice-Leading:Basic Principles
Resolve the leading tone up by step
Voice-Leading: Specific Considerations
Resolve the leading tone up by step Leading tone may resolve down in an inner
part, in the middle of a phrase
Voice-Leading: Specific Considerations
Resolve the leading tone up by step Leading tone may resolve down in an inner
part, in the middle of a phrase Resolve chord seventh down by step
Voice-Leading: Specific Considerations
Resolve the leading tone up by step Leading tone may resolve down in an inner
part, in the middle of a phrase Resolve chord seventh down by step Avoid dissonant leaps
Voice-Leading: Specific Considerations
Resolve the leading tone up by step Leading tone may resolve down in an inner
part, in the middle of a phrase Resolve chord seventh down by step Avoid dissonant leaps Avoid parallel fifths and octaves
Voice-Leading: Specific Considerations
Figured Bass
Step 1: Key and Roman Numerals
Step 2: Cadence
1. Resolve Leading tone2. Resolve Chord seventh3. Tripled Root Preferred
Step 3: Approach to CadenceCadential 6/4
Resolve all voices down(if no V7, keep common tone)
Step 4: Special Voice-LeadingSequential Progression with 7th
Chords1. For Root Position 7th chords in the sequential progression, alternate complete and incomplete (doubled root) chords for the smoothest voice-leading.
Step 4: Special Voice-LeadingSequential Progression with 7th
Chords2. Keep the common tone between chords.
Step 4: Special Voice-LeadingSequential Progression with 7th
Chords3. Resolve other voices down by step. This will involve the correct resolution of chord sevenths
Step 5: Special Voice-LeadingDeceptive Progression
1. Resolve the Leading Tone
Step 5: Special Voice-LeadingDeceptive Progression
2. Resolve other voices down by the shortest distance
Step 6: Complete the Voice-Leading
1. Keep the common tone between chords.
Step 6: Complete the Voice-Leading
2. Move other voices by the shortest distance.
Step 7: Look
Visually check for dissonant leaps, parallelism, doubling problems, large leaps...
Step 8: ListenPlay it and listen for voice-leading errors...