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The Rules of Voice Leading (2025 Edit)

This video functions as a sequel to the earlier music theory blockbuster, "The Evolution of the Triad and an Introduction to the Cadence." That earlier video began long ago, in the year 1198, with one of the earliest multipart vocal works in European history, Perotin's "Viderunt Omnes." In that work, triads were basically non-existent, but certain voice-leading patterns were already evident: the 7-1 "soprano" part and the 2-1 "tenor" part. As we surveyed cadences in works every hundred years or so till the end of the renaissance, we found these ways of "leading voices" were strikingly consistent, at least at cadences. Another voice was often added, the 5-1 "bass" part, and at least in some cases a 4-3 "alto" part was found as well. When these four lines are put together, they amount to a V7 chord (5-7-2-4) resolving to a I chord (1-3-[5]). Cadences themselves are pretty stereotyped, but in general the way "classical" western music evolved is through paying attention to these kinds of relationships among "voices" even when not at the cadence. As composers are "paying attention" in this way, they end up codifying a set of principles for how "voices" are supposed to "lead" from one note to the next. By looking back at the same material as the previous video, and looking a bit further at a rondo by Mozart, this video builds upon the previous investigation into triadic harmony and cadences to explore the background behind what has become the general theory of voice leading in western classical music. Introduction (0:00:00 - 0:01:07) The Contrapuntal Ideal/Counterexample (0:01:08 - 0:09:29) Perotin, Viderunt Omnes (0:09:30 - 0:14:45) Guillaume de Machaut (0:14:46 - 0:18:32) John Dunstable (0:18:33 - 0:26:16) Guillaume Dufay (0:26:17 - 0:33:35) Giovanni Perluigi de Palestrina (0:33:36 - 0:49:50) Generalizations About Resolving V7 (0:49:51 - 0:53:24) Tendency Tones (0:53:25 - 1:00:14) Scale Degree Seven vs. Chordal Seventh (1:00:15 - 1:01:50) Rules of Voice Leading (1:01:51 - 1:12:32) Conclusion (1:12:33 - 1:17:23) Outro (1:17:24 - 1:22:26)