Voice Leading no2
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 (C–F–A), 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).
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.
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.
I suspect this assignment will be one the biggest challenges you have yet to face in your practicing, but I
assure you, the benefit will also be tremendous. Success is not measured by what you start but rather by
what you finish. Take your time, and stay at it. You can do it!
assure you, the benefit will also be tremendous. Success is not measured by what you start but rather by
what you finish. Take your time, and stay at it. You can do it!
Conclusion
Congratulations! You should now be playing very solid and melodic sounding lines. If you have just read
the material presented here and not actually practiced and played the music, you should not be surprised that
your playing has not improved. I can assure you that becoming a good bass player requires hard work and a
lot of repetition. Information is relatively worthless without performance.It is vital that you write out the chord changes to all the examples in multiple keys. Memorize the patterns presented in this lesson, and practice until you are fluent in each key. If you cannot play all of the patterns in all keys, spend more time to get this basic stuff DOWN. Remember, just because you understand it does not mean you can play it. Take the time to build your foundation.As with lesson one, I suggest that you set a performance goal for each example. When you can play the song ten times in a row, in time, non-stop, with no mistakes, it is time to move to the next example.Use the concepts presented here in practicing additional standard tunes, and add them to your repertoire.
the material presented here and not actually practiced and played the music, you should not be surprised that
your playing has not improved. I can assure you that becoming a good bass player requires hard work and a
lot of repetition. Information is relatively worthless without performance.It is vital that you write out the chord changes to all the examples in multiple keys. Memorize the patterns presented in this lesson, and practice until you are fluent in each key. If you cannot play all of the patterns in all keys, spend more time to get this basic stuff DOWN. Remember, just because you understand it does not mean you can play it. Take the time to build your foundation.As with lesson one, I suggest that you set a performance goal for each example. When you can play the song ten times in a row, in time, non-stop, with no mistakes, it is time to move to the next example.Use the concepts presented here in practicing additional standard tunes, and add them to your repertoire.
For a more in-depth study of these concepts, see Roy Vogt DVD titled teach me bassguitar at
http://www.teachmebassguitar.com?AFFID=138183
I hope this lessons was helpful for you and that you practice,till next time
YOUR friend at Bass Guitar Tips for Beginners.
Ryno.Jacobs
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