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Part Writing

Part Writing. Four Different Interval Combinations for the Bass Voice Repeated Roots Roots that move by 5th or 4th Roots that move by 3rd or 6th Roots that move by 2nd or 7th Major issue to remember: Which notes of the chord are doubled or tripled. Repeated Roots. Four Part Textures

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Part Writing

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  1. Part Writing Four Different Interval Combinations for the Bass Voice Repeated Roots Roots that move by 5th or 4th Roots that move by 3rd or 6th Roots that move by 2nd or 7th Major issue to remember: Which notes of the chord are doubled or tripled

  2. Repeated Roots Four Part Textures • All members of the triad are usually present. The final one chord is sometimes incomplete, consisting of the 3rd and a tripled root. • The root is usually doubled. The leading tone is almost never doubled due to it being a strong tendency tone.

  3. Repeated Roots Cont. • When a triad is repeated the upper voices may be arpeggiated freely as long as the spacing rules are followed. • The bass voice may arpeggiate an octave. Ex: 6-1

  4. Roots a 5th or 4th apart • All rules apply with ascending 5th (descending 4th) and descending 5th (ascending 4th) • There are three methods of part writing for this particular bass movement.

  5. Bass movement in 5th and 4th cont. Method 1 • Keep the common tone between each chord in the same voice. • The remaining upper voices move by step in the same direction. • Contrary to the Bass: The stepwise motion would be down if the bass voice moves up. The motion would be up if the bass voice moves down.

  6. Bass movement in 5th and 4th cont. Method 1 Ex: 6-2

  7. Bass movement in 5th and 4th cont. Method 2 • All three upper parts move in the same direction with no leap larger than a 3rd. • Motion in the upper three parts will be down with the bass movement of a P5 down (P4 up) • Motion will be up with the bass movement of a P5 up (P4 down)

  8. Bass movement in 5th and 4th cont. Method 2 Ex: 6-3

  9. Bass movement in 5th and 4th cont. Method 3 • Not as smooth. However useful for changing between open and close structures. • Keep common tone in the same voice between chords. • Voice that has the 3rd in the first chord leaps to provide the 3rd in the second chord. • Remaining voices move by step.

  10. Bass movement in 5th and 4th cont. Method 3 Ex: 6-4

  11. Part Writing with Roots a 3rd or 6th apart • Will always produce a smoother progression. • There will always be two common tones. • Both chords have a doubled root. Ex: 6-6

  12. 3rd and 6th cont. • 2 Common tones will remain in the same voices. • Remaining voice will move by step. • Stepwise motion be up for root movement of a 3rd down. Stepwise motion will be down for root movement of a 3rd up (Contrary to the Bass).

  13. Part Writing with Roots a 2nd or 7th apart • The two triads will have NO common tones. • Every voice will move from chord to chord. If the root of the first chord is doubled • Smooth Voice Leading • If the bass moves up by step the upper voices move down to the next chord tone. • If the bass moves down by step the upper voices move up to the next chord tone.

  14. Part Writing with Roots a 2nd or 7th apart Ex: 6-9

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