An Introduction to Idealized Voice-Leading

For both part-writing and analysis, it is helpful to use a technique called “Idealized Voice-Leading” (IVL, by
Gregory Proctor and Godfrey Whinam). Most textbooks have pages and pages of rules for part-writing in an
attempt to communicate the principles of voice leading. The rules they present—based primarily on Bach and
Mozart—are, consequently, a Frankenstein approach to voice-leading. The problem is that they are trying to blend
general principles with a few stylistic practices thrown-in for good measure. Part-writing is presented as real music
which represents an “ideal.” This leads to confusion about what is allowable (or not) and why. The solution is to
separate the two elements—the ideal voice-leading and the elements of style.

First of all, note the following relationships between chords:

For two triads with roots that are a 2nd (or 7th) apart, the IVL is as follows:

For roots a 3rd (or 6th) apart:

For roots a 4th (or 5th) apart:

IVL is presented as the abstract, ideal framework behind a given piece of music or chord progression. How this
framework is expressed in real music depends on the style employed. Therefore, the following progression—

I vi IV ii V7 I

—could be used for a chorale, a piano sonatina, a quartet, or a rock song—it just depends (partly) on how the IVL is
stylistically expressed. One major benefit to this approach is that the “rules” are separated out into stylistic
constraints or guidelines, and can be justified on that basis.

The rules for IVL are simple:

1. Roots of harmonies are placed on the bass staff (of a grand staff).
2. The complete harmony is placed on the upper staff.
3. No voice on the upper staff moves by more than a step, therefore, every note has a direct path from what
precedes and to what follows.
4. If you wish to “close-off” or “open up” another path, in order to continue in another octave, use a bracket to
mark the octave doubling.
These rules apply equally to analysis or composition. The IVL acts as a type of harmonic “roadmap” or “path” for a
given voice to follow. It is important to realize that the IVL is not real music. It is an abstract representation of
several possible, real musical surfaces. Therefore, the actual music might not follow a certain path in the IVL—the
real music can skip, use NHT’s, etc. The point, though, is to notice how the IVL guides the general direction and
flow of the voices, including resolution of dissonances and avoidance of certain problems.

Finally, the logic behind certain chord progressions is based on root relationships, IVL, stylistic practice, and the
circle of 5th’s, which is primarily summarized below. These charts serve as a good summary starting point for
standard tonal progressions.

-------5th-------*-------5th-------
IV I V Primary function chords

ii vi viio / (iii)* Substitute function chords

Subdominant Tonic Dominant

*(The iii chord cannot substitute for a V chord at a cadence.)