MUSC1600 Music Techniques 1 Week 2 TOPICS Textures and chord spacings. Principles of harmonic writing in four-part format.

t. READINGS Gauldin, chapters 4, 5, 6. Spencer, chapter 7. Clendinning and Marvin, chapters 10, 11, 14. INTRODUCTION TO PART-WRITING IN SATB FORMAT In this course we will be concerned with writing harmony for four parts or voices, usually labelled Soprano, Alto, Tenor and Bass. We will look at other media also, but for the moment we will use the SATB format in our study of the principles of harmony. Ranges: Soprano Middle C to G a 12th above. Alto G below Middle C to C an octave above. Tenor C below Middle C to G a fifth above. Bass F a twelfth below Middle C to D above These ranges may vary by a note higher or lower (depending on which textbook you read). Spacing: To prevent chords sounding weak or thin, avoid having more than an octave distance between the soprano and alto, or between the alto and tenor. If necessary, the tenor and bass can be more than an octave but usually no more than a twelfth. Voice crossings: To help maintain the independence of the four voices, avoid having one voice higher than the part above, or lower than the part below it. In other words, check that the alto is not higher than the soprano or lower than the tenor, and check that the tenor is not higher that the alto, or lower that the bass.

Doubling: Since we are using triadic chords in a four-part texture, we will need to double one of the notes of the triad so that all four voices will have a note each. Bear the following in mind: Major and minor root position and first inversion chords: double the root in most cases; otherwise, double the 5th of the chord. The 3rd of the chord is rarely doubled. Major and minor second inversion chords: double the bass note (i.e., the 5th of the chord). Remember that all notes of the triad should be present (it is easy for beginners to forget one of them). The diminished triads for use in this course are vii06 in both major and minor keys and ii06 in minor keys. Use only first inversion diminished triads. Usually the 3rd or 5th of the chord is doubled. Do not double the root of vii06 (because it is the leading note), but you may double the root of ii06.
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If necessary (due to constraints of part writing), it is also possible to omit the 5th from a triad, but never the 3rd or root. Remember that the notes of any chord can be distributed in various ways among the voice parts, as in the following examples. Examples (from Gauldin):

Identify each triad in the following example, noting its chord type, root or first inversion, and doubling (from Gauldin). You should remember that a root position triad has notes a third and fifth above the root (sounding in the bass); a first inversion has notes a third and sixth above the bass note; (a second inversion has notes a fourth and sixth above the bass more on this later in the course).

Write the following chords for SATB. Identify the key first (all major). The superscripts beside the Roman numerals tell you if it is a first inversion triad. No superscripts mean it is a root position triad.

Voice Leading General procedures: When moving from one chord to the next, try to have each individual part move to a note of the next chord that is nearest to it. Stepwise motion is common. Avoid unnecessary large leaps (more than a 6th, though 8ve is okay) and avoid augmented and diminished melodic intervals in all parts.
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Beware part crossing (as above) and overlapping: additionally, avoid situations where one voice goes above or below the previous note in another voice. If there is a note in common between the two chords, try to keep it in the same voice (but generally we dont follow this in the soprano part in order to avoid melodic monotony). The leading note almost always goes to the tonic (exceptions will be discussed in a later class).

Keep it simple: dont aim for the most complex and convoluted progressions. Remember that most music of the Baroque and Classical periods relies heavily on I, IV and V (and their minor versions) in root and first inversion, with ii/ii0 and VI/vi (and their inversions) the next most popular chords. When vii06 appears, it is between I and I6 or I6 and I (and likewise with their minor versions). A good rule of thumb is that the three upper parts should move in contrary motion to the bass part (but dont pursue this in every place). Observe the spacing between the voices (as described above). Keep the individual voices within their vocal ranges.

Summary of Voice-Leading Principles so far: Keep all voices within their ranges at all times. At any point. no more than an octave between adjacent voices, except tenor and bass which may be more. No overlapping/crossing the parts, i.e., when one voice goes above or below the previous note in another voice. No augmented 2nds, augmented 4ths or other awkward intervals in the melodic line of any part (i.e., one note after another in the same voice should not form one of these intervals). Exceptions to this will be given in a later lecture. No doubling the leading note. Note the awkward intervals, wide gaps between parts, and overlapping of parts in this example:

Now we encounter one of the strictest rules of tonal harmony, one that was obeyed by all composers. Parallel perfect fifths or octaves are forbidden. It is a feature of musical style that we could consider analogous to grammatical conventions in language. No consecutive parallel perfect 5ths between any two voices/parts. However, a perfect 5 th followed by a diminished 5th is okay. No consecutive parallel octaves. No contrary motion 5ths or octaves. Again, a perfect 5th followed by a diminished 5th is okay.

Identify all instances of parallel or contrary motion 5ths and octaves in this example:

Finally, while we scrupulously obey the various laws of part writing in tonal harmony, we should always remember to write our own examples and exercises musically. This advice will permeate all levels of your study in music techniques. For instance, in this short example: When a harmony is repeated, create some variety by changing the soprano pitch, the inversion, and/or the spacing of the chord. Where possible, avoid static or repeated melodic lines.

Practice Exercise (take home): Try writing this chordal progression in SATB, following the correct procedures for voice leading: