Any pitch produced by the instrument is called a voice. So voice leading describes the relationship between successively moving pitches of simultaneous parts. There is a very good example to understand the basic of voice leading. Suppose you are playing a chord progression in C major scale say, C-F-G. Now one way to describe the chord progression is to say that it is a I-IV-V chord progression in C major. But voice leading is another approach to analyse the progression. Let us see how voice leading acts here.
The notes in the C major chord are C-E-G. Also the notes of the next chord which is F major are F-A-C. Now suppose that we are playing the F chord with the C note as the lowest. So, we can write notes of F major as C-F-A which you can call the second inversion of F major chord. Since voice leading deals with each and every individual voice, let us compare the two chords on note to note basis. While moving from C major to F major, the C note remains unchanged while the E note moves up to F note and G note moves up to A note. So we can say that while changing the chord, one voice remain unchanged while one moved up a half step and another a whole step.
This kind of analysis is of very much importance when someone is arranging music with various kind of instruments. Suppose we have three instruments and they are played simultaneously. Presently suppose one is playing a C note, next an E note and the last one is playing a G note. Now, the composer has to think in which direction the three instruments should proceed to give a synchronous and harmonious effect. One good possibility would be to move them up to C-F-A notes respectively. And this one is of course the second inversion of F major.
Now the question is how one can exactly utilize it. Because every one is not composing with 15 instruments at a time. Let us be guitar specific.
We all agree that music should flow continuously and smoothly. Suppose you are climbing on the stairs which is constructed with very high steps. You will feel problem while climbing whereas you can climb easily on the stairs with small step height. The same applies to voice leading also. The lesser the gap between the progressive notes, the more smoother will be the melody. Generally, the movement is seen to be:
1. A half step
2. A full step
3. Three half steps
This is not a rule but an observation on most of the compositions. So whenever you are playing a chord try altering some notes within the range of three half steps and see on a trial and error basis if you can find some interesting sounding chords. Well this does not mean anyhow that you have to be always hanging on with trial and error methods. There are various rules of voice leading.
Before i put the rules on board, let me first tell you few things. Consonance is defined as a harmony, chord or interval which is considered stable in music. Opposite to this is dissonance which creates a sense of instability.
Perfect consonances:
1. Unisons and Octaves
2. Perfect fourths and perfect fifths
Imperfect consonances:
1. Major third and minor sixths
2. Minor third and major sixths
Dissonances:
1. Minor second and major sevenths
2. Augmented fourth and diminished fifths (Tritone)
Now let me describe the types of motions as far as voice leading is concerned. For this purpose consider that two instruments are being played simultaneously.
1. PARALLEL MOTION
When the voices rise or fall by exactly the same interval, it is called parallel motion. Suppose one instrument is playing a C note and another is playing a G note, and if C climbs up to D note, then for a parallel motion to occur G must climb up to A note. So, both the instruments climb up by a whole step.
2. SIMILAR MOTION
When both the pitches rise or fall, then it is called a similar motion. For example, both the instruments should proceed either up or pitching down the notes.
3. CONTRARY MOTION
When one of the pitches moves up while another pitch goes down, it is called contrary motion.
4.OBLIQUE MOTION
When one pitch remains constant while the other changes, it is called oblique motion.
Having all this, here are the rules of voice leading as described by Fux:
1. One perfect consonance goes to another perfect consonance in a contrary or oblique motion.
2. A perfect consonance goes to an imperfect consonance in a contrary, similar or oblique motion.
3. An imperfect consonance goes to a perfect consonance in contrary or oblique motion.
4. An imperfect consonance proceed to another imperfect consonance in contrary, similar, parallel or oblique motion.
Now how to implement all this on the guitar having said that we are comparing at least two instruments? Well, suppose we are playing a normal major chord and will be switching to the next chord. Instead of considering one chord as a single entity, try considering it to be made up of three different instruments,each one playing one of the notes of the chord. Like this analyse the next chord too. And then try to find the relationships between the chord notes.
The above rules are not strict and you are free at your will to do anything and any kind of interval according to your preference and what sounds good to you. Enjoy playing.
The notes in the C major chord are C-E-G. Also the notes of the next chord which is F major are F-A-C. Now suppose that we are playing the F chord with the C note as the lowest. So, we can write notes of F major as C-F-A which you can call the second inversion of F major chord. Since voice leading deals with each and every individual voice, let us compare the two chords on note to note basis. While moving from C major to F major, the C note remains unchanged while the E note moves up to F note and G note moves up to A note. So we can say that while changing the chord, one voice remain unchanged while one moved up a half step and another a whole step.
This kind of analysis is of very much importance when someone is arranging music with various kind of instruments. Suppose we have three instruments and they are played simultaneously. Presently suppose one is playing a C note, next an E note and the last one is playing a G note. Now, the composer has to think in which direction the three instruments should proceed to give a synchronous and harmonious effect. One good possibility would be to move them up to C-F-A notes respectively. And this one is of course the second inversion of F major.
Now the question is how one can exactly utilize it. Because every one is not composing with 15 instruments at a time. Let us be guitar specific.
We all agree that music should flow continuously and smoothly. Suppose you are climbing on the stairs which is constructed with very high steps. You will feel problem while climbing whereas you can climb easily on the stairs with small step height. The same applies to voice leading also. The lesser the gap between the progressive notes, the more smoother will be the melody. Generally, the movement is seen to be:
1. A half step
2. A full step
3. Three half steps
This is not a rule but an observation on most of the compositions. So whenever you are playing a chord try altering some notes within the range of three half steps and see on a trial and error basis if you can find some interesting sounding chords. Well this does not mean anyhow that you have to be always hanging on with trial and error methods. There are various rules of voice leading.
Before i put the rules on board, let me first tell you few things. Consonance is defined as a harmony, chord or interval which is considered stable in music. Opposite to this is dissonance which creates a sense of instability.
Perfect consonances:
1. Unisons and Octaves
2. Perfect fourths and perfect fifths
Imperfect consonances:
1. Major third and minor sixths
2. Minor third and major sixths
Dissonances:
1. Minor second and major sevenths
2. Augmented fourth and diminished fifths (Tritone)
Now let me describe the types of motions as far as voice leading is concerned. For this purpose consider that two instruments are being played simultaneously.
1. PARALLEL MOTION
When the voices rise or fall by exactly the same interval, it is called parallel motion. Suppose one instrument is playing a C note and another is playing a G note, and if C climbs up to D note, then for a parallel motion to occur G must climb up to A note. So, both the instruments climb up by a whole step.
2. SIMILAR MOTION
When both the pitches rise or fall, then it is called a similar motion. For example, both the instruments should proceed either up or pitching down the notes.
3. CONTRARY MOTION
When one of the pitches moves up while another pitch goes down, it is called contrary motion.
4.OBLIQUE MOTION
When one pitch remains constant while the other changes, it is called oblique motion.
Having all this, here are the rules of voice leading as described by Fux:
1. One perfect consonance goes to another perfect consonance in a contrary or oblique motion.
2. A perfect consonance goes to an imperfect consonance in a contrary, similar or oblique motion.
3. An imperfect consonance goes to a perfect consonance in contrary or oblique motion.
4. An imperfect consonance proceed to another imperfect consonance in contrary, similar, parallel or oblique motion.
Now how to implement all this on the guitar having said that we are comparing at least two instruments? Well, suppose we are playing a normal major chord and will be switching to the next chord. Instead of considering one chord as a single entity, try considering it to be made up of three different instruments,each one playing one of the notes of the chord. Like this analyse the next chord too. And then try to find the relationships between the chord notes.
The above rules are not strict and you are free at your will to do anything and any kind of interval according to your preference and what sounds good to you. Enjoy playing.
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