Things to think about when you are part writing:

 

1.) Allow all tendency tones to resolve correctly. 

 

*This means that a leading tone in a V or a vii diminished chord resolves UP by step to the tonic pitch when it goes to I or vi. 

*The 7th of any chord resolves DOWN by step

*Any pitch that is altered (sharp,flat,natural) will usually resolve in the direction of its' alteration.

 

2.)Do NOT create parallel octaves, fifths or unisons (by contrary or parallel motion)...Bach kills a kitten?

 

3.) If it is possible to keep a note, do it! You want to move your voices the least distance possible to the next chord change. 

 

*Avoid large leaps (more than a third)

*Avoid difficult intervals (tritones, sixths, sevenths, ninths....three hundred and thirty secondths)

 

4.) No more than an octave between voices

 

*The exception is the bass, you can have a tenth between the bass and the tenor and it will still be acceptable

 

5.)No crossed voicings or overlapping of voices (try to avoid this, and if they do cross, uncross them as soon as possible)

 

6.)Double what the inversion calls for...the tone that is doubled is usually the most "stable" note of the chord

*Root position= double the bass

*First inversion=double the soprano

*Second inversion triad= "double the bass note" however, you should use this chord sparingly because it is unstable.  It can be used as a cadential 6/4-the tonice 6/4 resolves to the V chord at the cadence...this means that the 6/4 decorates the V...in this the bass note is doubled (don't confuse that with the root) passing 6/4 - the bass note acts as a passing tone, the bass is doubled. arpeggiated bass -the bass note participates in an arpeggiatio nof the same chord and the bass note is doubled. and finally pedal bass  - the bass stays in one place and is usually doubled.

 

*NEVER DOUBLE THE LEADING TONE

 

7.) Keep each voice in the correct range

 

*soprano- mid c.-g (ish)(above the staff)

*Alto- g below middle c-d (in the staff)

*tenor-d (in staff bass clef)-g(above staff)                              

*bass- f (below staff) to c (above staff)

 

8.) Use Proper Cadences!!!

*PAC- V/V7 to I or i

*IAC V/V7 to i I (but with an inverted one chord of the soprano not finishing step wise on tonic)

*HC- a cadence that ends on V

*PC-IV moving to a I

*DC- a cadence that cereates the expectation of going to I, but substitutes and temporarily tonicizes the new chord

 

9.) follow the progression chart.....please!!!

 

iii--->vi---->ii/IV---->V/vii(dim)----->I

 

 

 

 

Now that you have the basics to work with, here are some other things to mull over...

 

CHORD PROGRESSIONS:  this is the best way to study harmonic progression! if you analyze it, the bigger picture and the little nuances begin to become apparent.

.....to be continued....

 

     

 Create your own educational wiki!Help Add to Del.ici.ous Add to Digg Add to Reddit Add to fUrl Add to SpurlPublic, not yet premium Privacy Policy RSS