Figure 4.1. Chromatic voice-leading possibilities understood with reference to a diatonic (or equiheptatonic) template. In each column the chromatic voice leadings can be understood as manifestations of the diatonic template at the top. Beneath each column is a heuristic description More

Figure 4.3. The five basic voice-leading transformations: transposition along an extrinsic scale, transposition along the intrinsic scale, neo-Riemannian voice leadings, normal-form preserving perturbations (not needed when chords are TI-related), and the small voice exchange c 0 that swaps More

Figure 4.4. Voice leadings at the opening of Schoenberg's op. 11/1. To obtain the progression, apply the perturbation and then the transformation. For example, starting with the first chord, move B to A and then transpose up by four semitones. Almost all the trichords are in the “A” arrangement More

Figure 5.5. Efficient descending-fifth voice leading connecting quartal voicings, in both diatonic and chromatic space. More

Example 13. “Ecco, Silvio,” mm. 29–45; open brackets in mm. 34–37 show a two-voice stretto fuga; open brackets and diagonal lines in mm. 39–44 show a four-voice stretto fuga. More

Figure 8. Mid-range chord space and voice interval patterns for “Zima”: (a) transformations f 2 and f 4 across twelve-tone chords in the middle register; (b) voice patterns embody the voice-leading relations of adjacent chords; (c) voice leading projects D–D♯–E♭–E in chords 1–4; (d More

Example 9. Three-voice canon at reh. 80 of Britten's Curlew River as the Ferryman leads the Madwoman to the tomb. More

Figure A2. The basic hexachordal voicings. More

Figure A1. The basic trichordal, tetrachordal, and pentachordal voicings, categorized by the standard twelve-tone operations. Cyclic voicings are shown with open note heads. Numbers show the spacing in intrinsic steps. More