Principles of Voice Leading

According to the principles of voice leading for a simple melodic line, what is the primary characteristic of its contour?

What is the guideline for using a melodic interval larger than a P4 in a simple melody?

Which scale degree is identified as a tendency tone that often moves down to scale degree 3?

What defines 'open structure' in the context of voicing a four-part chord?

What is the general spacing convention for adjacent upper parts (soprano, alto, tenor) when writing for three or more parts?

Which type of motion occurs when two parts move in the same direction to the same interval?

In a four-part texture, how many distinct pairs of voices are there to consider for parallel motion?

What is the primary reason given for avoiding parallel 5ths and 8ves in tonal music?

Which of the following describes the rule for 'objectionable parallels'?

What is the general treatment of contrary 5ths and 8ves in tonal music?

When are unequal 5ths considered unacceptable in part-writing exercises according to the text?

What are the conditions that create a 'direct' or 'hidden' 5th or 8ve?

What defines 'voice leading' or 'part writing'?

What is the primary difference between voice leading and counterpoint?

According to the rules for simple melodies, which intervals should be avoided?

When are consecutive smaller leaps in the same direction acceptable in a simple melody?

In a reduced score for four parts (SATB), what is the convention for stem direction when parts are notated on a single staff?

What is the convention regarding crossed voices in beginning part-writing exercises?

What type of motion is described when one part remains on the same pitch while another part moves?

In the context of parallel motion, how are parallel 4ths generally treated?

What is the final note of a simple melody expected to do rhythmically?

What must be true of every note in a simple melody according to the harmony rule?

How should a diminished interval be treated within a simple melody?

What is the exception to the tendency of scale degree 7 to move to 1?

What is the key difference between a 'reduced score' and a 'full score'?

What is the maximum recommended interval between the tenor and bass voices in a four-part texture?

Which type of motion is defined as two parts moving, but in opposite directions?

In a three-part texture, how many pairs of voices must be checked for parallel motion?

Besides P5 and P8, which other intervals are included in the rule against objectionable parallels due to being octave equivalents?

What does a slash or plus sign in connection with an arabic numeral mean in the context of figured bass from Self-Test 5-3?

Under what condition is the duplication of a line at the octave NOT considered a violation of the rule against parallel octaves?

Why are the parallel 4ths in Example 5-16c considered acceptable?

In what musical context were contrary 5ths and 8ves most strictly avoided?

What is the result of the outer parts moving in the same direction to a P5, with a leap in the soprano and a step in the bass?

In Example 5-20, why are versions 'c' and 'd' considered correct while 'a' and 'b' are incorrect?

How was the avoidance of parallels maintained in instrumental music compared to vocal music?

What is the single highest note in a well-formed simple melody called?

In Example 5-1c, why is the E5 considered an incorrectly harmonized tone?

What type of motion is demonstrated between the soprano and alto in Example 5-14?

What is the reason given that the parallel 5ths and 8ves in Examples 5-15a and 5-15b are considered unacceptable?

When is it acceptable for the alto and tenor lines to cross?

Which term is defined as the combining of relatively independent musical lines?

The spacing of a four-part chord is defined as being in 'close' or 'open' structure based on the interval between which two voices?

What is the general voice leading advice when parallel 5ths and 8ves appear in instrumental accompaniment figures, such as in Example 5-21?

According to the summary, which type of motion is generally avoided because it undermines the relative independence of individual parts?

Which of the five types of motion between two voices involves neither part moving?

Why is the voice leading in Example 5-16a, where the soprano and tenor have a repeated P8, considered acceptable?

What is the primary characteristic of the rhythm in the simple melodies discussed in the chapter?

Unequal 5ths involve a perfect 5th moving to what other type of 5th, or vice versa?

According to the summary, what is the term for the space between the soprano and tenor parts that categorizes a chord to be in close structure or open structure?