STYLISTIC PRACTICES: FOUR PART VOICE LEADING Flashcards
- If both chords = Root Position AND Roots P5 or P4 Apart then
- Keep the common tone (the tone shared by both triads) and move the remaining two upper voices stepwise to the chord tones of the next triad.
The roots of the chords will be doubled.
- If both chords = Root Position AND Roots are a P5 or P4 Apart A N D you can not keep the common tone, especially when the soprano voice descends scale degrees 2ˆ to 1ˆ, then ______________
- Move all three upper voices in similar motion to the nearest chord tone.
The roots of the chords will be doubled.
- When the roots of adjacent triads lie a third (major or minor) apart:
- Keep both common tones and move the remaining upper voice stepwise.
The roots of the two chords will be doubled.
- When roots lie a second apart:
- Move the three upper voices in contrary motion to the bass, making sure that each voice moves to the nearest chord tone of the next chord.
The roots of the two chords will be doubled.
In Class I: Preferred Dbling
1. If in root position
2. If in root and 5th –> 6th
3.1st Inversion doubling
- Always try and double the Bass
- Double the Soprano
- Soprano –> Bass –> Inner Voices
Class IIa: HARD DO NOT (4}
- DO NOT Double the leading tone
- DO NOT write more than 1 octave apart
(ok from Bass to Tenor) - DO NOT write pitches outside the range of a particular voice.
4.DO NOT leave out the third
Class IIB: HARD AVOID (5)
- AVOID parallel octaves (8)
- AVOID Parallel 5ths (5)
- AVOID Parallel unisions (1)
- AVOID the mel. augmented second (A2) in all voices
- AVOID the augmented fourth (A4) in all voices.
Class IIc: OCCASIONALLY BROKEN (2)
- Avoid crossing voices
2.Minimize motion. Keep within steps or small skips.
Class IId: DO’s (2)
- The leading tone of the Tonic key should progress upward to the tonic when it is in an outer voice
2.Minimize motion. Keep within steps or small skips.
- Repeated Chords (2)
- First, maintain proper doubling and range of voices,
and second, keep the usual order of voices (soprano, alto, tenor, and bass).
- Voice Leading in First-Inversion Triads
- Double any triad factor that facilitates smooth voice leading in the following order:
SOPRANO - BASS - INNERVOICES
- Voice leading for the viio6 triad: (3)
- Double the third (bass note) or fifth factor.
The bass note is preferred.
Avoid melodic skips of a tritone.
- Use Second Inversion triads:ONLY in these (4) senerios
8.1 - Cadential—The tonic 6/4 chord resolves to the V chord at the cadence. Used in thismanner, the 6/4 chord is a decoration of the V chord. The bass note is doubled.
8.2 - Passing Bass—The bass note (5th factor) of the 6/4 acts as a passing tone. The passing bass may be found as a tonic 6/4 between the IV and IV6 chords or as a dominant 6/4 between the I and I 6/4 chords. The bass note is doubled.
8.3 - Arpeggiated Bass—The bass note (5th factor) participates in an arpeggiation of the same chord. This usage of 6/4 chords occurs occasionally with triads other than the tonic. The bass note is doubled.
8.4 - Pedal Bass—Also known as stationary bass or neighboring tone chords, the bass note (5th factor) is preceded and followed by the same tone and is placed between two root positions of the same triad. This type also occurs occasionally with the IV 6/4 as well as the tonic.The bass note is doubled.
4.1 When roots lie a 2nd apart EXCEPTION (3)
An exception is the progression V to vi or VI.
In this case, double the third factor of the vi or VI triad.
Only two upper voices will move in opposite direction to the bass. P
Voice-Leading rules for both primary and secondary sets of chords.
-3-
- Resolve chord sevenths down one scale degree in the same voice.
- Resolve secondary leading-tone notes up one scale degree when appearing in the soprano or bass voices.
- Avoid doubling the secondary leading-tone note (the third of the secondary dominants and the root of the secondary leading-tone chords).
