Zweite Stimme für Melodie finden & Vierstimmigen Satz schreiben: Tonsatz, Disposition & Stimmführung

This video explains how you can find the second voice for a melody and write a modern four-part movement in the same way. Have fun and welcome here, on this channel, you will regularly find everything about music theory and composition. and fix if you want to stay updated, don't forget to subscribe now and like at the end of the video if you liked this video. In some of the comments on my videos you asked me how you do it. Write a second vote for an already difficult melody, how does it work? And that's what this video will be about.

We not only want to write a second voice for an existing melody, but also add a third voice and a fourth. voice to get the so-called four-part sentence The four-part sentence is actually based on strict rules that you must follow. These are the rules of voices for leadership. I will discuss the leadership rules in more detail at the end of. the video We don't want to focus too much on old rules, but rather on fun and creativity. So write a four-part sentence, a modern four-part sentence and that's why we'll first go more broadly into the workflow.

As usual with my videos, in the description you will find a chapter overview of the individual topics in this video so that once you have understood one content you can move on to the next. You can click on the topic of this video to write a four. -part of a sentence or even adding a second voice to a main voice. Of course, first we need a melody and you may know this melody if you have seen my video on how to find suitable chords for each melody. You can find them because we have them. We already worked with these eight measures and with this melody.

It is the melody of the Ode to Joy from the fourth movement of Ludwig van Beethoven's ninth symphony and the text was written by Friedrich Schiller The ode to the joy of our Europe our starting point . now it's this oh oh and to this melody now we want to add three more voices and get a four part movement and then it was here so how do we get there now we're looking? Let's first see what we have. We have already done it here. We have a melody. This melody moves forward one second, one second, and so on.

Here there are no small or large second jumps, for example a minor third or a major third and all that. comes after that are jumps everything else is steps there is also another aspect here this melody is vocal, you can sing it well and that is very, very important when the first second third fourth voice you write these

melodie

s, you write the individual voices that should all be singing, that has to have a singing quality and that means that the intervals between the individual pitches also have to sing well, but with a one-hand step, the main thing is to simply hold the pitch or a full one to step up. or sing a major third of the letter to see that these are all singing intervals.

There are also so-called irrelevant intervals and with this type of voices you should avoid them. For example, a tritone or a state step of a harmonic minor scale becomes irrelevant. or if we have to sing a small or big Sepp Thieme, you can try that it is not as easy as if you have to sing a perfect fifth and that makes this melody more difficult to see, so I have added simplified chords here and you may already you have made them. I realized when it eventually became more coherent to where we wanted to go, there were other chords between these chords and it wasn't as simple as these chords I wrote about here.

We just want to start with this because we need these chords. To achieve them, you have to write the second, third and fourth voices, so it is always useful to have roughly the chords and harmonies that occur in each measure because they give the vines the tones for the second, third and fourth. voices and we'll see that. Here you can see the melodic part, which is written here for the soprano. There are classic voices. Today we want to write basti Noah alto and soprano about these individual classical voices and their vocal range. I'll say later in the video.

Here it is for now. The main vocal is written for the soprano and here and there there is a classical guitar that, of course, could accompany the soprano with the respective chords in each measure and you can do it too. Easily play a pickup pattern that needs to be in tune or a dotted pattern. And what happens here now when these chords are played, everything sounds like this, it is nothing more than polyphony because in addition to the individual melody tones, also harmony tones are now heard, that is, here the note is sung and a chord sounds of F major with the tones F a and c two more tones sound here, the note c and the note f and then, through activation, some tones are also doubled, so we have a total of six voices here, which sound when the F on the guitar, and five voices sound here when a C is played.

The house is written in musical notation down here on the tab and so it goes through the individual ones intact. Now you could say that these six sides of the guitar are each a voice that speaks what is on this side here which is a side of the guitar. What happens in terms of tones is that it should be a singing voice on the guitar. side, a voice here or with the side here, the opposite side should be singing a voice and if we look at it in terms of pitches then one's side is singing so we have an ehe here then we have an f here again then we still have a f here, then another and so on, which is already a voice that is added to our main voice as harmony voices that we find here in the chords and now you could say well, so I'll take it like this. close, come on tour here at this point with the FA and C gates and just write me the missing tones that are still missing in this melody so that the full chord sounds, just talk to it individually, here is the double of Tone A and then I.

I write the erft tone twice in another voice and I write the C tone twice in the next voice and then I would have to achieve my polyphony and that's exactly how we now apply the rules in a completely simple way. At first I don't go into the vocal ensemble and tone much and want to move the chords to the individual voices a little more intuitively and thus preserve the additional voices overall. At the end I'll talk a little more about the tone phrase and the lead voice. rules because with the region it's like that, especially in music you can help something sound better or really nice and classic but you can also break yourself so that something new emerges and a new style emerges - it's just important and beneficial. these rules because they are, of course, tools to go in a certain direction and if you wrote exactly according to the rules but in a hard four-part sentence, then it might sound quite mechanical and artificial and we don't want that.

Yes, there is a certain beauty and a certain emotion in the music and also between the different voices. Here you can now see a total of two voices, one soprano and one alto. The soprano or soprano is above the register. he or she can sing. Of course, if I want to write a soprano voice, the alto has to write in this range, that is, I can't enter these notes too low, they can't be sung anymore even the instruments that move in it. In this range you can no longer play the notes or then it will be difficult to increase the pitch and that doesn't sound good either.

The same applies to the alto voice. The alto voice is arranged below the soprano voice. The voice range is slightly lower than other voice ranges. We still have the tenor and we add the bass, so these are the even deeper vocal ranges we get. What exactly have I done to him? I already said the second, the third and the other. the fourth voices add up based on the chord tones that we are given here and quickly add chord tones now Add those that are not already included in the main position, so I have here in this measure as an agreement or as a harmony in F major. chord and the F major chord consists of the F tones A and C in the soprano voice.

I have a close one, then another A and then ab because here we have an F major and then I have a C bracket, that is, from the fac tones I could now use the tone for the c tone and then I would have added an additional gate of the F chord major that is not yet of the main voice, a second voice is created and I can do it very simply, first of all, as you said, against the playful and then develop it more and more so that it remains simple and starting is easy . I just have that old voice.

She dropped the pitch, lowered the root tone of the F major chord exactly until the C major chord should come. sound like this that the F major chord has the tones F and see that the CDU chord has the tones C E and G, that is, in the C major chord the tone is not included. I have to go down here in the alto voice which is now moving away from the gate to a suitable tone for the C major chord, that is, now it could go up from the FC or it could go down further from the FC, both are tones of the C chord older and I'm getting pretty choked here and here I also did It was very easy for me and I just hit the Tony four times to sing.

Katar Funken is sung here by the second voice as tone throughout, while the main voice also makes the movement here always pure Bremen done in terms of movement here. we have a step for a small second of the FC and also in this measure my alto voice is not a single note, it is already sung by the soprano, they are the CBG and in the alto voice The tour is written at all times, so I moved on . Here we have another F major chord in this measure. A main voice sounds, the tones FFG A and the alto voice.

These are CVC tone. These are the tones of the F major chord and here I chose the note. C on the fifth of the F major chord for the alto voice, so it works all the way and you may have already noticed that I always make little movements here in this alto voice, so I have one here and there. step taken to get to the next high chord here I am on the fless chord of the F major chord then I take a semitone step down from the C major chord CEG then I jump here from ec that's not a step, it's a jump around to get to the C note of the F major chord and here I step again from the to the BKA cordsen notes B D and F in the old I from the D chord and here again just a small step and that's I'm done completely out of favor with my second voice.

I've done it here constantly and then everything sounds like this and everything has become more harmonious or two-part. It is true that there is no great art or great thing. craft here, that's the cheapest thing you can do, but we just want to get started and that's exactly how we do it now with the third voice, let's go to the tenor voice here. I have now added a tenor voice to the soprano and alto voice which now also has the third tone of the respective chord. Chords are added that we haven't used yet and that aren't sung by any voice yet, which means that if we have an F major chord here then it already had the tone. here I want to write a new note for this triad.

I want to write the fac note, that's why I gave the tenor the note C. Here comes one. Here is a doubling of 10. Here the C note is raised one octave. Okay, whatever is notated in the same key, but with the tenor we have to be careful, there is this little boat from October 8th in treble clef down here and that means that this scene is notated here, sing it but an octave Lower, please. that's why these two C's are an octave apart and the tenor is also below the voice as now we have the C and C tones this also means for us that each note sounds for us and then we will literally add it later, even in principle here in the rhythm with the C major chord here we have the tones c b a and g as a voice sings consistently the tenor sings consistently go and here we have once again in the octave the we behind also the c maybe now already It is clear that I always have the same note values ​​in all the voices.

So I don't have a voice here that somehow submerges a whole note here while you hear quarter notes and here between another 4:00, for my sake, we won't do that, that would be a polyphonic sentence. First we can create a homogeneous sentence here in this video , that means that if you have a quarter note, there are also quarter notes underneath. We have a classical chord here today.then again an F major chord and I have assigned the three fac tones from the fv chord again here in the main fk position then in the alto as before I already have the c note and the tenor sings the note throughout, then then the B major chord note here we have the tone as September major in the B major chord which then descends to the G note and then the intonation is preserved when it goes to the uppercase C major chord because the C major chord contains the notes CG and then here is the melody which also fits the C major chord in the old town, then here it also says D&D like you, the chord is made up of the tones b d and f and then goes up from a very small step and that's all again contained in the C major chord, the tenor then complements the remaining notes, the Alhambra once the B and again the B again consistently so that each of the B major chords can be heard completely and then takes one step forward. to the note C and we hear C and G the entire C major triad in general, noweverything sounds like that.

Of course, I continued here in the same way also adding the corresponding tones for the minor chords to make it sound three. are created It sounds better than two voices and now we add the fourth voice after we have become three voices and written the bass voice and here now we have four voices that do something different, different tones sing different tones once the main voice and the second third and fourth voice each as alto voice, tenor voice and bass voice and now you can prick up your ears a little because the john f major chord is a triad that consists of three parts, that means cdu also three ceg tones and here there are a total of four voices that means it has to somehow Yes, now everywhere when such a triad sounds, one tone of the triad should always have been doubled and that is correct and if you do such a doubling then you should always choose it from way that the d Marks the long impression and warning sound perception that when pieces should be created to correspond to that and serve the sound of the piece or just the sound of the main voice that is highlighted.

This time I'm going to the bottom four. measures and we take a look at the respective sounds in this measure A prisoner is found here and there with the bass key, the note F and which opens here sung four times, the basic high Venn F major chord is completely fine, so the tenor has a sink here a C which is from the fifth to the 11th then there is the alto voice yes again an F so there we have our doubling. I have doubled the root note of the chord and above the voice of the melody is the main melody and there we have the note A twice, then it briefly passes over B and then returns to C as the note of the F major chord itself, everything is not magic, so we continue here in one measure forward in C major, the chord must be played and we have harmonized it here and also distributed the individual voices this distribution of the tourer agreement to the individual voices which by the way is called chord arrangement which would be the epilogue from this if you divide a chord like this and distribute it to individual voices and here now we have the sound material of the note 10 of the melody a b 1 a and 1 g we have the chord tones in the old until the end and until here, so that this target is doubled here and then the chord comes back at the end.

Of course, the activated doubling is also here in the tenor voice because here it happens through the way it is sung. Also, the sound of a C7 chord is created here, if we add a little satire to the C major chord here, we get. a 10 7 1 dominant seventh chord and that's what you have here for c the note would be b and then we have the tones ii b and c here so here's a c7 chord that overall sounds pretty simple because. we have this melody here and then it will continue here it would sound C6 and here again a C major here continues in the same pattern, the main melody should be here and we also have the FDP tones here and here again The root note D in the bass and also with Timo we have the note ir then it continues melodically in saw and in addition to the G we also have the note here which is the B note and here again the B note and then we get our G minor chords here Y Without wasting too much time with the composition techniques and the rules of the lead voice, we just have our four voices here very creatively and as simple as it was in the beginning and it was easy after now we have distributed the chord parts here and we have received these four voices, everything here sounds the same from boring and simple, it's a matter of taste, you can do it that way, but it's not necessary and how can you make everything more interesting so that you don't?

I don't have to sing the same note for bars at a time. As an alto voice or as a tenor voice, how do you make it more interesting? Let's see, we always use tones creatively and here I have changed the alto voice and the tenor voice. voice a little, the high voice drops the so-called arpeggios or chord jumps while we. As before there was only one tone in the voice, it was really the F tone that the voice carried up to here, the upper voice now has different tones of the The F major chord, which sounds here in the soprano Anna and Josef, are the tones What can we take from here?

The chord has its own quiet tones and consequently here it says ca and here we are again on the F and here the note B. It sounds and here we have the rfv chord note again in the major third and here the c note sounds, so now there is a lot more movement in the alto voice. Jumps are almost always done here. here we jump again and then we jump with jo Jumps everywhere. Here the pitch stays the same because the pitch is the F major chord and in the B major chord it occurs and then you can stay on the same note, we have the pitches here and here. we have the pdf tones so we can sing here in fresing and here still in ersing and if you do it on a chord change like the one established from f for the next chord humb the pitch has not changed in a single voice then we are also talking about a garter tour in the tenor voice, now we have more movement again and again I only wrote the proper tones of the chords from the chord that sounds in each case, so here I have the tenor who gave a C while f&e sounds up here and then I gave the tenor and f next while here c&a sounds again a complete F major chord, the one above then I wrote a C again as the next note here an f and here it sounds si that then it would be an fm4 and that means that it has been converted into tobi and we no longer have an F major chord but an efsfi iraq that sounds here, here the tenor then sings an F again, an A is sung again in the high voice and here there is a C, so an F chord full C major here is already a C major triad in the last quarter note and the bass sings without much movement, just steps of a first fff and then I just continued this movement over the respective chords and their chords.

The writable tones continue very simply, but now we have much more. movement here in these two middle voices, here above we have the main voice with the melody and here below we have the bass and here steps are taken here then jumps are made almost everywhere In the middle voices and here many tones are held and That is good of the different range of movements you can do with the

melodie

s. You can take steps, you can do jumping jacks, or you can call out a note. If it alternates in a nice, balanced way in a sentence like that, then that's what it is.

It sounds better if we listen to the next phrase again, these four voices and then listen to these pacts, going back to how they sounded last year and therefore more movement in the two middle voices and these four voices that we have now we don't even have to do it. We can see them as four healthy voices, but we can also have them played by different instruments and these four voices can simply be distributed between the first violins, the second violins, the violas and a cello. and a double bass and then everything sounds like this, now it can.

Of course, it's understandable that you say yes, but somehow it's still a bit boring and somehow not the same style that actually sounds in the symphony. It's at that level today, but we want to do it again. What else do we want to click much more interestingly? And what you noticed is that the chords that are here per day are very strong, the additional voices also influence the second third and fourth voice what power is moving at this moment voice 2, 3 and 4 They all move according to the pitches of the respective chords, but that should also mean that if I write other chords on top of them up here, let's say we have the Logically, when there was nothing else, I was allowed to use the F major chord.

You could also have written an A minor chord here from the A C and E gelato tones. Nothing matches the tone of the wonderful chord. I've written a note here on the B note, but I could have written the chord on B major, nothing at all. The problem is that I can split completely new chords and consequently if I now assign here each note its own chord and plus the three melodies we can all do a pretty good harmonization so that I can write new chords to create a melody. There's also a video linked at the beginning where starting today you can write a melody and swap it and that's what we want to do now. we have new chords here we also have new options for our second third and fourth voice our new chords now look like this You see, at the beginning there is still 1 F major chord, but now think about it, here comes MLC 77. the dominant of the F major chord you can transfer and then slide to the F major chord, which is the third here of the CDU with the little lake theme of the toni leading back up to the root note 11 and the dressing tone which is this little sepp thieme, the B note accompanies up to the F major chord in the heart tone and so there is this nice resolution from the C7 chord to the F major chord, from the dominant chord to the duet chord that fits here so wonderfully which I have also written. the third of the cas fits here with the chord because I feel for it and then it should use its bass voice cable properties very well in making a beautiful etf.

It is already written in the bass voice and we hear these chords. What I've written here, I explain how the chords work in the video in the information cards in the first video, in very detail, so I won't go into it as much as we want. Now distribute these chords to individual voices and show us how it sounds when the piano plays these chords up here and how our soprano voice of our lead voice sounds here along with the chords, good sound, light, you can say that the individual functions of the chords and so everything works beautifully in itself, that's not a topic I should go into about substitution of dominant, secondary dominant, etc.

I made videos. Link some more videos. Now let's take these chord tones here and distribute them to our other three stones. The vocal is already occupied by our lead vocal and that's what happened here. These two tones are each in the voices. I don't need to explain them further. They are as always, now we would talk again about the four voices that we already have. they had, they happen quite normally, but as soon as we play the C7 chord over the bass, it becomes different in the main melody in the soprano voice that we have. The tone in this thieme is the C7 chord, so we have voice, the tone. works, we didn't have that before, the BMF stayed here, then there is a small step up, a full step and the pitch goes back to an accordion from the C7 chord ceg and b, hereby we make the note c again and by of course, down here I have the note in what I have written here, she seven with the bass, so I should write that here in the voice of the measure and e as sorry for f then it goes here Also in half a turn higher, understandably for the FCC as lower, then we have our full F major chord and up here it is sung again in the main position 1 C so the objective that we lowered in the cinema is doubled again in the octaves and that's it.

Let's go ahead and take a chord. Here now is a B. major chord with a great voice and FM beats. I also spread it here here it says in the main so that A is the big Sepp Thieme of this chord, then I have it here in de.pdf and here I never put it. then I wrote here and here I have another f in the bass just like I wrote here the hampered chord again and that also happened here and consistently and here. There is very little movement in the remaining three voices so be very careful, it rarely happens, it is further down here it goes to longer intervals and jumps from the FC or here again from the CCF and it is all quite balanced, it could be much more balanced , but I said that I don't stick so much to the rules and then more to the rules and if so, I have simply followed this here, the game in Ireland is a lot of fun to find good chords that work together and that one after another create a Good cadence, so be sure to take a look at the information card if you haven't already.

If you have already seen the linked video, you will know that you also know how those chords work and what you can perform and contribute. If you have the chords, you can write the individual parts here and then everything sounds like this and now. It sounds much more interesting and the play between consonants and des, but between relaxation and tension, that is much more interesting to hear here and here too. I could put my four voices around string instruments again and I put soprano and alto on the first and second violin. of the tenor voice, the violas are left in that way that fits in terms of range and the bass voice is now given to the cello and of course to the double bass that doubles everything an octave lower and then sounds like this and these four voices that, of course you could also use on other wind and brass instruments along with them Distribute strings You could also say in another way how loudly it is played who should play what is currently not available who should stop somewhere in several measures and then start again where should I vary a little to make everything a little longer and more interesting how loudly and how softly each instrument should be played what style of playing whether a stringed instrument should be plucked or bowedor hit very accentuated with the bow and so be different orchestral sounds and then these four voices sound together like this, so now we are relatively simple.

We arrived at a four-part sentence because we didn't really follow all the rules of voice direction, but what are the rules for voice direction and what? Are there recommendations? I have to adhere to these rules and how strictly they must be adhered to, because if you now write a counterpoint or a google, for example, then you must adhere to these rules very, very strictly. Counterpoint and fugue rely very, very heavily on this if you bring them in now. However, say, "Well, I'll write pop music, or I'll write light music, or you'll write film music, or I want to give a nice serenade." and write something nice and sturdy then you can deviate from these rules.

The important thing is to creatively approach the rules of voice leadership first and foremost. You don't have to do everything, but it helps just to achieve balance and balance. beautiful sound character, an aesthetic sound character between these four voices or if you just want to write two voices between two different voices with the balance that we just mentioned, now we go to another one. Recommendations for the lead voice The lead voice should be balanced. I've noticed that I've always talked about jumping steps and being able to stop on pitches. Here, for example, a step forward has been taken.

A step down has been taken here because we have an interval from one to small. second or a major second, we move up or down here we are talking about a step when we now do something that is bigger than a major second i.e. a minor third, a big candle up or down and all the intervals are placed in In addition to that, we talk about jumps. There are no more steps, but jumps. You see, for example, here from E to G, we have a jump of a minor third up or down here from TC to the bass tone FM. we jump from the CCF a pure fourth upwards are jumps steps and jumps and here we have two different syllables that the voice must sing loudly and the same note is sung in each case and here we stop at a chord and a rule is that between the tones that There are steps, jumps and this persistent that must be balanced, that means here, for example, a jump in these two notes up, a jump up, even that is even more important here there is an up and a jump is made here then Up here, the soprano he took a step down, so there is no jump or upward movement, but rather a circular movement and a step that ensures balance.

The tenor goes here with the alto voice. The alto voice jumps from the tonic to the G and the tenor. jumps from the stone to such different tones but they go together they move with each other but they move against this voice and that varies in the course of the sentence and here it is different again in the bass here the tones are maintained so we have three different movements, one move happens twice, so it's pretty balanced here, but that's exactly what's here in this sentence. To make everything a little balanced, you could, for example, write a little here.

Here I constantly stay in the meeting, I have to do it. However, I don't always want to think about it here. I don't even want to make this F major chord sound like this twice to make it very clear and be. really stable on the F major chord in the tonic, or I want everything here to be more balanced in terms of the main voice, so balance is very important according to the rules of the main voice for a good and aesthetic sentence , so it's also important that we look at something from two different perspectives here and we have a horizontal component which is our melody, which then happens one after another, it's also the chords that result from each other, our harmony and cadences then come to you and to us. it has a vertical component from top to bottom which is always the respective chord and how we place the tones and that's where I want to say Now place the 17th chord here then I have to think about how I would distribute the voicings of the C7 chord so that it would make sense in terms of voice direction.

It's also important to pay attention to the provider of the individual voices. The provider is the range in which these voices can work and in which I can use these voices and of course I. You have to work on this measure in such a way that this is characteristic of the voice technique, that is why a soprano voice is very similar to a violin voice, but other techniques are also used, which can be that the melodies can be write differently. that with a human voice singing or with a cello or with a double bass, then I have to pay special attention to the tonal space so that there are no annoying high tones to play on the double bass.

In theory, a double bass like this comes. with a relatively high level of technology and sound, but then it is no longer possible, it does not sound good and it is technically exhausting, so you should pass the voice like a cello or if you have already written it in an extremely high pitch it has to have the industry for these classic vocal ranges high soprano low tenor there are even more between voices mezzo soprano could tenor baritone these are between voices that are also quite common there are tables in which range fans advanced what they can expect and where you can write like this, you can download it and then write it down, which of course makes a lot more sense - you usually know the people you're writing these parts for or maybe you want to have it for synthetic instruments, so of course. you know what you're doing You had to stick with it and write for synthetic instruments, you definitely need to take the provider into account, even if you can normally write above and below the maximum range, but it doesn't sound realistic anymore and even if composing something with virtual instruments So you kind of want to have a little bit of realism and if you're just writing for your Bern, for example, then you just know what the vocal range of the individual singers is or the vocal range of the instruments and then you can get some good news over here.

Make no mistake, but there is something about the position of the tones in relation to the pitch. A lot can go wrong here if I have the bass too high and at the same time the tone. the tenor is down and let's say the tenor is already down here in the note, it arrived, it would stay here with guide lines and painting crafts Iraq. Now I go up and say, he plays up here again, well, then the voices cross, then the bass voice is already above the tenor voice and the tenor voice is already below the bass voice.

I would like to have to swap the notes to get everything back in order and that sounds strange because these instruments don't sound the same, they have different characters. , that's why the voices are crossovers, you can do them, it always depends on the musical style, the correct thing is that the crossovers are actually for a four-voice voice. The phrase should be avoided in any case, but there is certainly a case for a lower voice to sink. above the voice above it for a certain time and the voice up here can sing below the other voice, this is also called voice change, then there is another rule or let's call it recommendation for the upper voices is that the distance between the Upper voices at best should not be greater than an octave and if they are too far apart and for the tenor and bass there is an octave plus a fifth, the maximum distance between these voices is possible.

Arrange the notes here fairly close together so that later no accordion would fit anywhere in between. We have the F note here in the alto, the note in the soprano. There is no longer any note that fits between the F major chord here in the note F and then it goes down to the tone C. between that triad of no more tones that are set relatively close to each other, it is called close position, so the voices they just don't have that mega distance and there's also the wide position, so the vocals get more distance overall and everything sounds a little bit wider if If we look at the chords here, it's also clear that we need to play them completely in a four-part set, that's say, if now there are seven on top and I have four voices available and the C7 is on top, the chord consists of four tones, then I should play every note of this chord here and not double it and skip one.

That's sometimes not possible, but I should focus on making sure all four voices are here so that we have this complete polyphony when doubling C. So I have to see if it's useful for the sound if I just write a triad. Is it logical that I have four voices and now I wrote a triad and then one voice sounds together with another voice, a doubled tone, so I have to see? What's useful about the sound so far is that everything fits together. Now we have seen this vertical aspect. Now let's look at the horizontal aspect. There are many rules and recommendations when it comes to voice guidance.

We must play the voices melodically, that is, normally in a melody of this type there are mainly steps and there are fewer jumps. We should also stick to strut tones, where strut tones are, for example, line and glide. We took all the time to introduce sorry, we have here, for example, in the C7 chord, the C7 chord would be the key note, meaning that this is the tone that pushes towards the root tone of the tonic and wants to resolve. up by a semitone step. We better not work it down, so let's not jump to the tee and then land on the fifth of E flat, but we want to take a semitone step up from C major. chord and we set this beginning of line in the FV, which means that we need to pay attention to the strand, for example, and if we then take a look here, then you can see that I have ignored what I'm doing here, not that this is an example, I am not following the rule, that's why I say, strictly speaking, I have not written any strict four-part sentence here already mentioned 7 over e is sorry and this line goes up here leads to let's go to the robe in addition to this story about kill the nerds there are also high tones quiet tones are generally inexplicable in mega with the c7 over egs Equally high tones are the chord's own tones fac if I'm on a note like this and the chord doesn't change here then I can point out that I'm making this C note here, I have to calmly do that contained in the F major chord and here calmly now just put it in and that continues and from the sound I can keep moving normally, that's all, while I have to stick to it when I guide or glide, for example, if I now do a half turn in a half turn down to a certain amount of action.

You should also take into account. that the outer voices move in opposite directions, meaning that if one exceptional voice goes up, the other voice should go down. If the lower outer voice goes up, the upper outer voice goes down. We can check that here. I didn't stick with that the entire time either, just because I wanted to have this chromaticity here, and that was just for. tonal reasons Because I preferred a different sound and did not adhere so strictly to the rules for four-part composition and furthermore, the tones that do not change with chord changes are still dhfk ccs contained in the F major chord and ce gcs contained in the C major chord then they should stay the same, you should leave them like that, you shouldn't change them if possible and another important rule is that not all the votes should go in this direction at the same time, so here you shouldn't I don't have all four votes rising or falling at the same time.

To be honest, I didn't pay much attention to it, I think that's my case, but it's not the case yet, I'll just take a look. You may also be overlooking it. There are two down here, come down, it's in this short area, so it's not as nice here, like I said, this is this chromatic area, I wanted to use it a lot. Strictly speaking, it shouldn't do that, okay, so it's always the question of what sound you want and when you realize, okay, it doesn't sound good in a place like that and you can see okay, the vocals are. everything goes in one direction, then it's probably because you've broken this rule and then you should just write a vocal in a different direction, let the opposite direction or pitches remain and then that's usually fixed.

However, it is still not always possible. I would also have to get into the forbidden prime eighth and open fifth parallels, which are important if you really want to stick strictly to four-part composition. You have to think about what style Magnet wants to write for Rules for the voice. leadership are quite old and in the meantime a lot of things have happened in music and also in orchestral music, film music has become incredibly important and has become incredibly popular and very popular, whereas in the past music cinema was simply in the background. This happened and it was not the case that Hans Zimmer did a big live tour around the world with his film music and film music, but also in the area of ​​jazz rock pop, if it is a four-part movement, so there it is.

It's also common for these rules to become open parallel fifths, forbidden parallel fifths, and for them to be broken, which is why I don't go into it much, that would be out of my scope at this point. Don't hesitate to write to me. comments if only Sometimes the vocal guidance rules must follow the rules little by little, then, forOf course, we like to do that sometimes, but for modern music we can also break several and then in the new late style of film music or jazz. , breaking the rules often happens it should be a four part movement and that is completely fine, something new will emerge, otherwise our music would not develop further and should develop further, it is beautiful and the most important thing is that something emotional is triggered . and as long as that happens, I don't think we should be extremely exciting when the rules are broken and something new and beautiful is created.

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