Voice Leading Part VII

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Contrary Motion:
If the bass moves up - the treble moves down.
If the bass moves down - the treble moves up.
Now lets do with passing tones from the C major scale



First examples will all be in C major (4 note chords) using Contrary Motion:
(notes are written lowest tone on left to highest tone on right)




C, E, G, B (C major seventh) passing scale tones play after chord A, B, C

B, F, G, D (G dominant seventh - first inversion) C, D, E

C, E, A, C (F major seventh - second inversion) incomplete C, B, A

B, F, B, D (G dominant seventh - first inversion) incomplete D, C, B

C, E, G, C (C major seventh) incomplete

Imaj7, V7, IVmaj7, V7, Imaj7 progression.




G, C, E, B (C major seventh - second inversion) C, D, E

F, D, F, B (G dominant seventh - third inversion) incomplete C, B, A

A, C, F, A (D minor seventh second inversion) incomplete A, B, C

G, E, A, C (A minor seventh - third inversion) E, D, C

B, C, E, B (C major seventh third inversion) incomplete

Imaj7, V7, ii7, vi7, Imaj7 progression.



F, A, C, E (F major seventh) E, F, G

E, B, C, G (C major seventh - first inversion) B, A, G

G, D, F, B (G dominant seventh ) A, G, F

C, D, F, A (D minor seventh - third inversion) A, C, D

A, E, C, F (F major seventh - first inversion) F, E, D

B, G, C E (C major seventh - third inversion)

IVmaj7, Imaj7, V7, ii7, IVmaj7, Imaj7 progression.

Some of these chords are difficult to play on guitar. Suggestion when overdubbing or playing with another guitarist - split chord into two separate parts. Also experiment changing octaves of notes within chord-higher or lower in tone.





C, G, B, E (C major seventh) C, D

B, G, D, F (G dominant seventh - first inversion) F, E

D, F, A, B (B minor seventh flat fifth - first inversion) C, D

C, F, A, E (F major seventh - second inversion) D, C

E, G, C, B (C major seventh - first inversion)

Imaj7, V7, vii7b5, IVmaj7, Imaj7 progression.



D, F, A, C (D minor seventh) C, D

C, G, A, E (A minor seventh - first inversion) E, D

D, E, G, B (E minor seventh - third inversion) B, C

B, F, B, D (G dominant seventh first inversion) incomplete C, B

C, E, G, A (A minor seventh - second inversion)

ii7, vi7, iii7, V7, vi7 progression.



C, G, B, E (C major seventh) D, E

D, G. B, F (G dominant seventh - second inversion) F, E

A, F, C, E (F major seventh) E, D

C, E, G, B (C major seventh)

Imaj7, V7, IVmaj7, Imaj7 progression.



C, E, G, B (C major seventh) E, F, G

B, F, B, D (G dominant seventh - first inversion) incomplete D, C, B

C, D, A, F, (D minor seventh - third inversion) A, B, C

A, F, C, E (F major seventh - first inversion) E, G, F

C, E, B, C (C major)

Imaj7, V7, ii7, IVmaj7, Imaj7 progression.



Now transpose these to each position (register) of your instrument, then to all 15 keys.



Remember to experiment and create at least three variations using these same principles.







All materials copyright 2010. For personal use only.

Vince Lauria Sun and Earth Music