Compare Fixed-Voice Movement Costs

Supplied materials

• Paper and a pencil, typed notes or a browser scratch area. Color names can replace colored supplies; drawn figures and timelines can replace performance.
• Complete teaching inputs: Three fixed voices begin at pitch-numbers[60, 64, 67]. Which supplied voicing of the target pitch classes minimizes the sum of each voice’s absolute pitch movement? Supplied candidates: (A) [48, 53, 57] (B) [48, 77, 81] (C) [60, 65, 69] (D) [72, 77, 81].
• Independent check: Three fixed voices begin at pitch-numbers[61, 65, 68]. Which supplied voicing of the target pitch classes minimizes the sum of each voice’s absolute pitch movement? Supplied candidates: (A) [49, 53, 58] (B) [49, 77, 82] (C) [61, 65, 70] (D) [73, 77, 82].

Learn the idea

Use multiple pieces of score information together. Retain supplied scale spellings, combine generic and chromatic interval distances, compare fixed-voice movement costs and synchronize an original audiovisual cue plan. For this limited arrangement criterion, keep each voice’s identity fixed and add its absolute pitch movement. Compare candidate voicings by total movement without swapping voice assignments.

Reason through the supplied case: The chosen movements are [0, 1, 2], summing to 3. Moving entire voices an octave adds much larger distances for the supplied alternatives. This criterion concerns total motion only; it does not certify every style-specific voice-leading rule.

Minimum total motion is one explicit criterion, not a complete set of style-specific voice-leading rules. Instrument range, parallels and expressive function would need separate stated checks.

1. Read the complete teaching inputs and mark the feature, rule or constraint being tested.
2. Compare the model decision with one rejected candidate; state the visible evidence or calculation that distinguishes them.
3. Solve the independent check and the three changed-input practice cases before reading feedback.
4. Compare transitions from sixty/sixty-four/sixty-seven to sixty/sixty-five/sixty-nine and to its all-voices-up-octave version.
5. Check your artifact against these explicit criteria: The first motion cost is three semitones; the octave-shifted candidate has a larger cost under the fixed-voice model.

Check your reasoning

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Take it further

New-input analysis: Three fixed voices begin at pitch-numbers[67, 71, 74]. Which supplied voicing of the target pitch classes minimizes the sum of each voice’s absolute pitch movement? Supplied candidates: (A) [54, 59, 62] (B) [54, 83, 86] (C) [66, 71, 74] (D) [78, 83, 86]. Expected relationship: [66, 71, 74]. The chosen movements are [1, 0, 0], summing to 1. Moving entire voices an octave adds much larger distances for the supplied alternatives. This criterion concerns total motion only; it does not certify every style-specific voice-leading rule. Create your own artifact: Compare transitions from sixty/sixty-four/sixty-seven to sixty/sixty-five/sixty-nine and to its all-voices-up-octave version. Completion criteria: The first motion cost is three semitones; the octave-shifted candidate has a larger cost under the fixed-voice model.

Nothing here is saved to an account or sent to a teacher. The answer download includes your current choice and any checked feedback. It does not include choices from the separate More practice section. Download that section separately.