MUSC1600 Music Techniques 1

Week 3

Topics
 Chord progressions in SATB format
 First Inversions
 Four-part writing using root positions and first inversions

Readings
Gauldin, chapters 4, 5, 6
Spencer, chapter 7

First Inversions
Recall from Week 2 Lecture that these place the third of the chord/triad in the bass part. Inversions of major
and minor triads do not double the bass note (3rd of the chord); it may be doubled in the diminished triads
vii06and ii06.

It is useful to indicate the position of the chord by means of figured bass numbers: 5/3 for root and 6/3 for
first inversion. In a first inversion, the note a 6th above the Bass is the root of the chord. How do you
distinguish major, minor or diminished first inversion chords?
Identify the following as either root or first inversion. The first two are done for you.

Chord progressions: Roots rising by Step (a major or minor 2nd)

A useful rule of thumb is that when a progression involves two root positions rising by a second, then the
upper parts should move in contrary motion to the bass. The progression IV – V (or iv – V) is a good
demonstration. (The Deceptive Cadence provides an exception, to be discussed in a later class.)

Try writing IV-V progressions in different major keys; iv-V progressions in minor keys (don’t forget to
sharpen the Leading Note).

What is you solution to this chordal progression in SATB? You should observe the correct procedures for
voice leading discussed so far.

1
Chord Progressions: vii06
A useful stock harmonization is to use vii06 between I and I6 (or i and i6) or between I6 and I (or i6 and i). A
typical instance is a mediant-supertonic-tonic (3-2-1) melodic progression, as in the following examples:

We will not use vii in root position – it is a diminished chord. We will only use vii06 between I and I6.
Try writing I-vii06-I6 or I6-vii06-I in different keys (minor i-vii06-i6 or i6-vii06-i)

Parallel Fifths & Octaves and Exposed Fifths & Octaves

 Recall from last week that we should avoid having any pair of voices move from a perfect 5th to
another perfect 5th upwards or downwards (whether by similar or contrary motion).
 A parallel 5th followed by a diminished 5th is okay – there is no problem with that progression.
 We should also avoid having any pair of voices move from a perfect 8 ve to another perfect 8ve upwards
or downwards (whether by similar or contrary motion).

A related rule is:

 No exposed fifths or octaves, i.e., when going from one chord to the next, the soprano and bass should
not move in the same direction – with the soprano moving by leap and bass by step or leap – to an
octave or perfect 5th (or their compound equivalents).
Identify the exposed 5ths and 8ves in the following example. Can you distinguish between exposed 5ths/8ves
and parallel 5ths/8ves?