Chapter 1 Two Part Scale Realization

Question 1

Parallel Thirds

Answer 1

Obvious in major.
In harmonic minor must shift octave to avoid the augmented 2nd between steps 6 and the raised 7.
Melodic minor will have raised 6 & 7 ascending, natur as l 6 & 7 descending and a raised 7 to close.

Question 2

Parallel 6ths

Answer 2

Begin having upper octave descend a step as the lower octave ascends a step. When the bass reaches the octave the top voice skips down a third to resolve to the tonic. Same trick reversed for the descending scale.

Melodic minor makes the usual adjustments.

Question 3

Alternation of 3rds and 6ths

Answer 3

The top voice, starting a third above the bass, moves 3-6, double the tempo of the bass.

Starting a third above the bass, the top voice moves up a step then down a third as the bass voice moves down a third up a second, producing a 3-6 chain.

Melodic minor requires the usual adjustments.

Question 4

Suspensions: Sevenths and Seconds

Answer 4

The bass begins on the strong beat, after which the octave is introduced on the weak best and is tied to the next strong best, on which the bass moves up by step. The upper voice then resolves on the weak beat by step. This can be repeated as a descending chain of 7-6’s.

The voices can be inverted creating a chain of 2-3’s.

Question 5

Fourth Up Fifth Down, 7-3 version

Answer 5

Starting with only a bass note on the strong beat, the bass rises a third on the weak beat as the upper voice enters on the octave of the prior note and ties to the following strong beat, on which the bass descends a step, forming a 7th to begin the chain.

On the weak beat the bass rises a fourth as the upper voice resolves the suspension and ties to the next strong beat as the bass descends a fifth to continue the chain of 7-3 suspensions.

Question 6

Fourth Up Fifth Down, 2-6 version

The Tied Bass

Answer 6

Starting with a note on the strong beat, the upper voice rises a third on the weak beat as the bass voice enters on the prior note and ties to the following strong beat, on which the upper voice descends a step, forming a 2nd to begin the chain.

On the weak beat the upper voice rises a fourth as the bass voice resolves the suspension and ties to the next strong beat as the upper voice descends a fifth to continue the chain of 2-6 suspensions.