Mark Wilson
10-02-2006, 11:36 PM
Okay. For my theory class, we have to do voice leadings of II-V-I Chord progressions.
Well...I don't get it. I know that the VII always falls to the III, and the III always rises to the I.
Well...My question is where does the I rise or fall to? I would be logical that it would goto the VII, but we all know that nothing in Jazz progressions is logical.
Can anyone help?
-Mark
Eli M.
10-03-2006, 06:13 AM
In theory assignments (and in the example you gave), the I chord tends to be the destination. I don't think it will go anywhere.
The III "rises to the I"? I'm not sure what you mean. Are you talking about notes or chords?
brianrost
10-03-2006, 07:41 AM
I'm sure he means notes. In C:
Dm7-G7-Cmaj7
D, F, A, C -> G, B, D, F -> C, E, G, B
VII to III: C -> B, F -> E
III to I: F -> G, B -> C
I goes to V in this case I guess:
D -> D, G -> G
BassChuck
10-03-2006, 09:47 AM
For the strongest sound, keep the bass notes on the roots of the chord. Then set the soprano in either upwards or downwards movement (your choice, but there is difference in sound). For instance, in the key of C, the soprano (top voice) would be A, B, C... or D, D, C... or D, B, C, if you can't make up your mind. After that fill in the other voices moving to the next closest chord member.
Four part choral writing is a great way to learn and understand the workings of harmony, but there aren't too many gigs left that demand it as a working skill.
Mark Wilson
10-03-2006, 12:29 PM
Yes, sorry. I meant the notes.
We're only doing Triads at the moment.
1-3-7.
-Mark
steveb98
10-03-2006, 01:34 PM
Okay. For my theory class, we have to do voice leadings of II-V-I Chord progressions.
Well...I don't get it. I know that the VII always falls to the III, and the III always rises to the I.
Well...My question is where does the I rise or fall to? I would be logical that it would goto the VII, but we all know that nothing in Jazz progressions is logical.
Can anyone help?
-Mark
More years than I want to admit to since doing stuff like this. I thought the voice leading was mainly concerned with the higher voices. The bass/roots are/should move in strong bass movement like, up at fourth, down a fifth, half-step. You would look at it as two different things.
I remeber when I would reharmonize tunes I would first write a new bass line. Then figure out the new chord types/names by relating the new bass note to the melody note. Last I would work out the voice leading.