voice

Examples of voice in the following topics:

• Avoiding Passive Voice

  • A way to focus your sentences on action and actors is to use the active voice rather than the passive voice.
  • The active voice also eliminates the vagueness and ambiguity that often characterize the passive voice.
  • With the active voice, the writer identifies the actor: "Linda hit the ball. " Keep in mind, the passive voice is not a grammatical error, it is a stylistic choice.
  • The active voice keeps the focus of the sentence on the action.
  • A memo written in the active voice will have a greater impact than one written in the passive voice.

• Voices

• Types of Motion

  • In parallel motion, two voices move in the same direction by the same generic interval.
  • For example, the following two voices both move up by a step.
  • This will always be true when two voices move in parallel motion.
  • For example, the following two voices both move down, but the upper voice moves by step while the lower voice moves by leap.
  • In oblique motion, one voice is stationary, while the other voice moves (in either direction).

• Active Voice vs. Passive Voice

  • Choosing the proper voice will set the tone for your writing, but keep in mind that most writing will include both active and passive voice.
  • Passive voice is the opposite of active voice, so sentences in passive voice tend to follow the reverse pattern of object–verb–subject, and the word "by" often shows up between the verb and the subject:
  • Intransitive verbs can never be used in passive voice.
  • Active voice is generally more direct and neutral than passive voice.
  • The passive-voice construction of this sentence emphasizes "Jamey" more effectively than the active-voice equivalent.

• Vocal Ranges

  • A typical choral arrangement divides women into higher and lower voices and men into higher or lower voices.
  • Arrangements for these four voices are labelled SATB (for Soprano Alto Tenor Bass).
  • Contralto – Contralto and alto originally referred to the same voice.
  • Baritone – A male voice that falls in between tenor and bass
  • These are approximate, average ranges for each voice category.

• The Sentence

  • In basso continuo style, if the chord is properly voiced (correct pitch classes and correct doublings), two key principles of voice-leading will ensure good counterpoint between the voices most of the time:
  • Those are the goals of strict keyboard-style voice-leading.
  • Likewise, when le appears in an upper voice of a subdominant-functioning chord, it should be followed by sol in the same voice upon change of function.
  • When ti is in an inner voice, it can progress down to sol if necessary to accomplish good voice-leading in the other voices and ensure complete chords.
  • (It is more typical, and smoother sounding, to transfer dissonances between inner voices or from an inner voice to an outer voice than from an outer voice to an inner voice.

• Developing Your Voice as a Writer

  • Even while following the rules of content and style, you can develop your own unique voice.
  • You've probably heard that one quality found in good writing is voice.
  • In academic writing, voice comes down to small habits and personal preferences.
  • Keep in mind that voice is not something you can automatically create.
  • There are no quick ways to give yourself a recognizable voice.

• Composing in Basso-Continuo Style

  • In strict keyboard-style writing, there are four voices: the bass line (which is usually a given in basso continuo style), and three upper voices: the melody or soprano, the alto, and the tenor (from highest to lowest).
  • Since all three upper voices must be played by a single hand, they should never span more than an octave.
  • In basso continuo style, if the chord is properly voiced (correct pitch classes and correct doublings), two key principles of voice-leading will ensure good counterpoint between the voices most of the time:
  • Prefer repetition to steps, steps to leaps, and one leap at a time to several voices leaping at the same time.
  • Do not approach an octave between the outer voices by similar motion unless the melody moves by step.

• Melodic Keyboard-Style Voice-Leading Schemata

  • Following are a number of schemata for keyboard-style voice-leading.
  • Others require non-default voice-leading or doublings.
  • (Some will also come in handy for chorale-style voice-leading.)
  • Using this voice exchange pattern will ensure smooth voice-leading throughout the prolongation.
  • The voice exchange can also be used with a D4 substitution chord.

• The Passive Voice

  • Verbs can occur in two different voices, active and passive. 
  • Until now, you have experienced mostly the active voice, in which the subject acts upon the direct object, e,g., The dog loves the family. 
  • The passive voice occurs in both indicative and subjunctive but uses the same endings in each.