Lead (music)

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In harmony theory, lead denotes a secondary note that is not part of the chord , the

  • is regarded as dissonant or at least as dissonant of opinion ,
  • usually as a "held" tone instead of the "withheld" chord-specific tone ("real" lead in contrast to the "false" one, in which the held tone sounds together with the chord's own "dissolving tone")
  • stands on a stressed beat position and
  • usually by a second step (mostly downwards, rarely upwards, exceptionally also by a jump) into a chord tone. This movement is called "dissolution".
\ new PianoStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 4 = 160 \ override Staff.TimeSignature.transparent = ## t << \ new Voice = "first" \ relative c '' { \ voiceOne s2 c ^ "a)" ~ \ tweak NoteHead.color #red \ tweak Stem.color #red cb \ bar "||" s2 f '~ \ tweak NoteHead.color #red \ tweak Stem.color #red fe \ bar "||" s2 f ^ "b)" \ tweak NoteHead.color #red \ tweak Stem.color #red ed \ bar "||" s2 <g sharp, e b> a1 \ bar "||" s2 <g, c e> ^ "c)" <b g '> 1 \ bar "||" } \ new Voice = "second" \ relative c '{\ voiceTwo s2 <fa> <dg> 1 s2 <a' d> <ac> 1 s2 <ac> <gb> 1 s1 <\ tweak NoteHead.color #red \ tweak Stem.color #red d \ tweak NoteHead.color #red \ tweak Stem.color #red f> 2 <ce> s1 \ tweak NoteHead.color #red \ tweak Stem.color #red e2 d} >> >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c {s2 f g1 s2 d 'a1 s2 f g1 s2 ea, 1 s2 c g1} >> >>

A distinction is made between holdings that are “prepared” (note example a) and those that “freely enter” as so-called “free holdings” (note example b). Prepared leads come from the contrapuntal concept of syncope dissonance : The tone in question is contained in the preceding chord in the same part and is often tied over. Such preparation is lacking in the case of free reproach. They are related to the Appoggiatura .

Some harmony teachings also differentiate between a “semi-free” or “semi-prepared” lead, if the lead tone in the previous chord was in a different voice (note example c).

Leaders are named after the interval to the root of the chord in which they occur: Second lead (goes up to the third note of the chord), fourth lead, sixth lead, seventh lead, ninth lead (goes down to the chord root).

Leads can occur in different voices at the same time (double lead, triple lead, etc.).

Tones can be inserted between a lead and its resolution ( diminution ).

In jazz, pop and rock the term suspended chord , abbreviated sus chord ( English to suspend , postpone, let hang) is common. However, the lead is generally not resolved here, but used as an independent sound.

  • sus4 ( suspended fourth ): chord with a fourth lead
  • sus2 ( suspended second ): chord with a second suspension

Application examples

Prepared fourth lead

Johann Abraham Peter Schulz : The moon has risen , conclusion:

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ clef treble \ key f \ major \ time 4/4 \ tempo 4 = 100 << {\ voiceOne s2. a4 aa bes agg f2} \ new Voice {\ voiceTwo s2. f4 ffef \ tweak NoteHead.color #red \ tweak Stem.color #red fef <bes, d> <a c> 2 r4 \ bar "||" } >>} lower = \ relative c {\ clef bass \ key f \ major {s2. r4 a2 g4 f c'2 a4 bes f2 r4}} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}

Free fourth lead (or stressed passage)

Happy Birthday , T. 5–6:

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '{\ clef treble \ key f \ major \ time 3/4 \ tempo 4 = 92 s2 c8. c16 c'4 af \ tweak NoteHead.color #red \ tweak Stem.color #red ed} lower = \ relative c '{\ clef bass \ key f \ major \ time 3/4 << {\ voiceOne s2. r4 <a c> <a c> r <f bes>} \ new Voice {\ voiceTwo s2. f, bes2} >>} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}

Free fourth phrase

Joseph Haydn : God! get , Hob.XXVI a / 43, conclusion:

\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ clef treble \ key g \ major \ time 2/2 \ tempo 4 = 92 << {\ voiceOne s2 a4. b16 c d8 eca \ tweak NoteHead.color #red \ tweak Stem.color #red g4 \ grace b16 a8 g <gd b> 2 \ bar "||" } \ new Voice {\ voiceTwo s2 <d fis> 4. s8 s4 ed f sharp} >>} lower = \ relative c {\ clef bass \ key g \ major << {\ voiceOne s2 <d f sharp a> g4 a \ tweak NoteHead.color #red \ tweak Stem.color #red bc g2} \ new Voice {\ voiceTwo s2 c, b4 c d2 g,} >>} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}

Seventh lead with diminution before dissolution

Johann Sebastian Bach : Air from BWV  1068, United States Air Force Band Strings, 2000.
Sheet music is temporarily disabled.

Sus chords with no resolution

The Jazz discovered the special sound quality of sus -Akkorden whose Vorhaltston is not resolved. A prominent example from the experimental phase with this sound is Maiden Voyage by Herbie Hancock , which only uses sus4 chords. With such a use, the term “lead” no longer seems appropriate, but the sound becomes an independent quality (see also fourth chord ).

The sus4 and sus2 chords in pentatonic pieces are particularly suitable because they are part of this scale.

sus2 and add9 chord

The sus2 chord must not be confused with the add9 chord: with sus2 the second takes the place of the third, with add9 the ninth is added to the triad.

Sources and literature (chronological)

Individual evidence

  1. ↑ Early evidence for “free reserve”: Dommer 1862, p. 118. Sheet music examples based on Louis / Thuille 1907, p. 31.
  2. ↑ Louis / Thuille 1907, p. 31; 7th edition (1920), p. 47.See also Amon 2015, p. 93.
  3. ↑ Levine 1989, p. 23 f.
  4. ^ Herbert Hellhund: Jazz. Harmony, melody, improvisation, analysis. Reclam, 2018, ISBN 978-3-15-011165-9 , page 34
  5. ↑ Jungbluth 2001, p. 12.

Web links