Procedures Of Four-Part Writing

Procedures of Four-Part WritingChord Construction and Voice-Leading

Four VoicesSopranoAltoTenorBassSopranoAltoTenorBass

Notation Style

Notation StyleSoprano and alto in the treble clef

Notation StyleSoprano and alto in the treble clefBass and tenor in the bass clef

Notation StyleSoprano and alto in the treble clefBass and tenor in the bass clefStems distinguish one voice from another

Notation StyleSoprano and alto in the treble clefBass and tenor in the bass clefStems distinguish one voice from anotherNote the unison on the third beat

DoublingAll else being equal, it’s best to double the rootHowever, any note of a chord may be doubled unless it is anote which requires a specific resolution, such as:The 7th of a seventh chordThe leading tone

DoublingDo not think of “double the root” as a hard-and-fast rule.A progression can be vastly improved sometimes bydoubling notes other than the root.

DoublingIn this first example, doubling the root of the first two chords results in a parallelfifth (an illegal motion) being written between the two inner voices.In this revision, the third of each chord is doubled (between tenor and soprano in thefirst chord, and between bass and tenor in the second chord) and solves the problem.

Complete and Incomplete ChordsChords are complete when they contain at least one instanceof each chord element (root, 3rd, 5th, etc.)Chords are incomplete when one of those elements ismissing.

Incomplete ChordsIt is sometimes necessary to write incomplete chords toavoid problems with voice-leading.Do not write incomplete chords in inversionsGenerally speaking double (or triple) the root and omitthe fifth of the chordNever omit the 3rd of a chord!

SpacingDo not allow more than one octave between two adjacentvoicesBetween bass and tenor the distance may be as much as twooctaves

Exercises: Tonic Triadbb 2 b& 4 ? b 24 bb1b b& b 1? bb b 23 4 5 6 7 6 62 3 64 8 9 65 10

& 4 ? b 24 bb Exercises: Dominant Triadb b& b 16 62? bb bbb b& 1? 3 2 64 65 6 3 64 5

?bbb Exercises: Dominant 7th Chord bb b& 1 ? bb b2 6 4 6%364 4"5

Open and Close PositionOpen: a chord element could be placed between any two ofthe upper three voicesClose: no chord elements could be placed between any ofthe upper three voices

Identifying Close and Open

Identifying Close and Open

Identifying Close and OpenOpen

Identifying Close and Open

Identifying Close and Open

Identifying Close and OpenOpen

Identifying Close and Open

Identifying Close and Open

Identifying Close and OpenClose

Identifying Close and Open

Identifying Close and Open

Identifying Close and OpenOpen

Identifying Close and Open

Identifying Close and Open

Identifying Close and OpenClose

Keyboard StyleComes from the old system of “realizing” a figured bass lineThe right hand is used to play the upper three voices, whilethe left hand plays the bassThe upper three voices are written in the treble clef, whilethe bass line is written in the bassThe soprano line may or may not be stemmed separatelyfrom the alto and tenor

Keyboard Style

Melodic Motion

Melodic MotionConjunct Motion

Melodic MotionConjunct MotionDisjunct Motion

Leaps

LeapsSmall leaps (up to about a fifth) aren’t much of a problem

LeapsSmall leaps (up to about a fifth) aren’t much of a problemLarger leaps need to be handled more carefully:

LeapsSmall leaps (up to about a fifth) aren’t much of a problemLarger leaps need to be handled more carefully:The octave is the maximum distance

LeapsSmall leaps (up to about a fifth) aren’t much of a problemLarger leaps need to be handled more carefully:The octave is the maximum distanceAvoid two in a row in the same direction, unless theyarpeggiate a triad (and even then be careful!)

LeapsSmall leaps (up to about a fifth) aren’t much of a problemLarger leaps need to be handled more carefully:The octave is the maximum distanceAvoid two in a row in the same direction, unless theyarpeggiate a triad (and even then be careful!)Generally after a larger leap, return stepwise in theopposite direction whenever possible

LeapsSmall leaps (up to about a fifth) aren’t much of a problemLarger leaps need to be handled more carefully:The octave is the maximum distanceAvoid two in a row in the same direction, unless theyarpeggiate a triad (and even then be careful!)Generally after a larger leap, return stepwise in theopposite direction whenever possibleDo not allow a leap of an augmented second

LeapsThese are all good

LeapsThese are leaps involving sixths and abovegoodgoodpoorpoorgoodpoorforbidden

LeapsMultiple leaps, some good, some notpoorgoodgoodgood

Simultaneous Motion

Simultaneous MotionParallel MotionBoth voices move in the same direction and retain thesame interval between them

Simultaneous MotionParallel MotionBoth voices move in the same direction and retain thesame interval between themSimilar MotionBoth voices move in the same direction, but the intervalbetween them changes

Simultaneous MotionParallel MotionBoth voices move in the same direction and retain thesame interval between themSimilar MotionBoth voices move in the same direction, but the intervalbetween them changesOblique MotionOnly one voice moves while the other remains stationary

Simultaneous MotionParallel MotionBoth voices move in the same direction and retain thesame interval between themSimilar MotionBoth voices move in the same direction, but the intervalbetween them changesOblique MotionOnly one voice moves while the other remains stationaryContrary MotionThe voices move in opposite directions

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionSimilar

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionContrary

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionParallel

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionOblique

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionParallel

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionContrary

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionTrick Question! No motion at all

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionOblique

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionContrary

Simultaneous Motion

Simultaneous Motion

Simultaneous MotionSimilar

Forbidden Parallel Motions

Forbidden Parallel MotionsMotion by octaves

Forbidden Parallel MotionsMotion by octavesMotion by unisons

Forbidden Parallel MotionsMotion by octavesMotion by unisonsMotion by fifths

Forbidden Contrary Motions

Forbidden Contrary MotionsOctaves

Forbidden Contrary MotionsOctavesFifths

Hidden (Direct) Motions

Hidden (Direct) MotionsFifths

Hidden (Direct) MotionsFifthsOctaves

Hidden (Direct) Motions

Hidden (Direct) MotionsHidden, or direct, motion is a problem only if:

Hidden (Direct) MotionsHidden, or direct, motion is a problem only if:1. It occurs between the outer voices AND

Hidden (Direct) MotionsHidden, or direct, motion is a problem only if:1. It occurs between the outer voices AND2. The soprano is moving by leap

Hidden (Direct) MotionsHidden, or direct, motion is a problem only if:1. It occurs between the outer voices AND2. The soprano is moving by leapOtherwise, don’t worry about it

Voice Crossing

Voice CrossingForbidden for now

Overlapping

OverlappingForbidden for now

PracticeThe following progression contains many mistakes of chordconstruction and voice-leading. Find as many as you can.Hint: there are at least 23 errors!

Parallel octaves between soprano and bass

Doubled leading tone between bass and soprano

Incomplete chord: no 3rd

Parallel fifths between soprano and bass

Hidden octave between soprano and bass

Parallel unison between tenor and alto

Hidden octave between bass and soprano

Overlap between alto and soprano

Spacing error between tenor and alto

Parallel fifth between bass and alto

Parallel fifth between bass and alto

Improperly incomplete chord: no 3rd

Parallel fifths between tenor and alto

Parallel octaves between bass and soprano

Fifths by contrary motion between bass and tenor

Voice crossing between tenor and alto

Voice crossing between tenor and alto

Parallel fifths between bass and tenor

Doubled leading tone in tenor and soprano

Voice crossing between tenor and alto

Parallel octaves between alto and bass

Voice crossing between tenor and alto

Incomplete chord: no 3rd

The upper three voices are written in the treble clef, while the bass line is written in the bass The soprano line may or may not be stemmed separately from the alto and tenor. Keyboard Style G 55 555 555 5 55 5 55 5555BBB 55 5 55 5 55 5 55 5555555BB B 555 55 5B 555 55 5B. Melodic Motion. Me