I thought that I would include a voice-leading analysis along with the harmonic analyses from the other posts. Below, you will find a part extraction of the first four measures of “Alice in Wonderland.” I think that separating the lines into discrete parts (in this case, a choral arrangement) illustrates the voice-leading movement wonderfully.
Of particular interest is the step-wise motion that Bill employs within the context of each line. And, in the event of a leap, he follows it with step-wise motion (e.g. the Tenor part in measures one and two). I think that Bill was aware of this as he explains:
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