Voice Leading 2

In musical composition, voice leading is a musical arrangement for any type of voicing where each musical
note transitions to the next in a smooth, harmonious way
Voice leading is the relationship between the successive pitches of simultaneously moving parts or voices.
For example, when moving from a C triad in the root position to an inverted F chord based on the same
lowest pitch (CFA), one might say that the middle voice rises from E to F while the highest voice rises
from G to A, this being a way to "lead" those voices. Instead of considering the two successive chords
separately, one focuses on the "horizontal" continuity between notes in each voice. When arranging in the
Baroque, Bach-like style of harmony, the parallel movement of voices in octaves, in fifths, or in unison is to
be avoided. However, popular and jazz music often contains voices moving in parallel octaves. A concern
for easy voice-leading often leads to a predominance of stepwise motion and may assist or replace diatonic
functionality.
In traditional contrapuntal Western music, voice leading is generally derived from the rules and patterns
typical of counterpoint.
Voice leading may be described as parsimonious if it follows "the law of the shortest way moving as few
voices as few steps as possible and thus often retaining "common tones." Anti-parsimonious or circuitous
voice leading is "voice leading between trichords that avoids double common-tone retention, thus requiring
at least two instrumental voices to move to different pitches.
An auditory stream is a perceived melodic line, and streaming laws attempt to indicate the psychoacoustic
basis of contrapuntal music. It is assumed that "several musical dimensions, such as timbre, attack and
decay transients, and tempo are often not specified exactly by the composer and are controlled by the
performer." An example of one law is that the faster a melodic sequence is played, the smaller the pitch
interval needed to split the sequence into two streams. Two alternating tones may produce various
streaming effects including coherence , a roll , or masking (one tone escapes perception).
Learn more good walking bass line construction, and you can play all day long without getting bored.

Part 4 - Transcription
It is now time for you to begin transcribing some good walking bass lines. You must avoid the pitfall of
choosing music that is too difficult for your ability. This results in frustration and failure. I would like to
recommend a bass line that has worked well for many of my students.When you transcribing a song ,I
recommend that you do NOT write it down. Just memorize the notes. Once memorized, transpose to other
keys. This assignment should take you some time. It is common for many students to spend a few weeks
or more learning the line in the original key.