Partwriting in Four – Voice Texture Chapter 6

Partwriting inFour – Voice TextureChapter 6

Vocal Ranges Each voice is set in a range that it can sing without strain. The blue circled note heads represent allowable extensions. Most voice parts should lie in the middle of each tessitura (range)

Voice Doublings… • “Rules” are based on ideal vertical sonority • Doublings are influenced by the way voices move • Most rules can be applied flexibly, with some exceptions and purposefully to create smoothness of line • Root position chords – double the root • Seventh chords (4 notes) – no doubling • Sometimes root is doubled and 5th is omitted • Never double the chordal seventh • NEVER, NEVER double the leading tone • Instant parallel octaves: ^7 must go to ^1

Complete & Incomplete Chords • Vertical sonority is best with a complete triad • 5th may be omitted of M or m root chord • Triple the root, never double the 3rd • Triads in inversion should be complete • Root position seventh chords frequently omit the chordal 5th and double the root • Seventh chord inversions should be complete

Melodic Motion between Voices • Similar motion • Parallel motion (5th and octaves) – big NO NO • Oblique motion • Contrary motion

Voice Leading Melodic profile in relation to the other voices Each voice should be distinct in its profile – soprano has the greatest freedom Bass voice must provides the fundamental harmonic structure Be very careful with voice doublings – especially in inversions

Partwriting • How individual voices move chord to chord • There are guidelines; they aren’t written in stone • The tricky bits where most errors occur: • Melodic writing • Melodic motion approaching & leaving perfect intervals • Chordal spacing and structure • Doubling of chord members

Criteria for Melodic Writing • Favor stepwise motion • Occasional use of melodic leaps are OK • 3rd, 4th, 5th, 6th • Use octaves less often • Change direction after big leaps (5th or greater) • Go diatonic! Leave out diminished & augmented • Stable tonality and clear cadence points • Reiterated rhythmic/pitch patterns

Principles of Melodic Writing • Favor stepwise motion over leaps • Anything over a P5 should be avoided; exceptions are possible in the bass • Avoid augmented intervals

Principles of Melodic Writing • Diminished intervals are ok – they will occur in descending motion to the leading tone, which will resolve upward by semitone to tonic Consecutive leaps should be avoided unless the outline a triad, they should be balanced by stepwise motion before and after the leaps

Connecting Chords • Leave any common tones between two chords in the same voice(s), and move the other voices to the nearest possible chord members of the second chord. • Imperfect consonants (3rd & 6th) can be approached and left by similar, contrary or parallel motion • Perfect intervals are a bit trickier… sigh

Perfect Intervals in Succession • Parallel unisons & octaves are forbidden • Octaves that remain stationary are not parallel

Perfect Intervals in Succession • Parallel Perfect 5th - FORBIDDEN • Similar motion between soprano and bass can promote parallel 5th; inner voices must leap by contrary motion • No restrictions on Parallel Perfect 4th • Frequently occur in progressions of successive first-inversion triads

Perfect Intervals in Succession • Contrary octaves or 5ths are regarded as parallels and should avoided

Perfect Intervals in Succession • Unequal 5ths • P5 moves stepwise to a diminished 5th • Diminished 5th moves stepwise to a P5 • Avoid between soprano and bass on a change of harmony • May occur moving by step between adjacent upper voices or outer voices on same harmony

Perfect Intervals in Succession • Direct octaves or 5ths • Occur when two voices approach an octave or P5 by similar motion • Avoid direct 8ves or 5th if the top voice moves by step • Usually found in the outer voices (sop & bass) at cadence points, melodic nature of some cadences make them unavoidable

Chordal Spacing and Structure • Intervals larger than an octave should not occur between adjacent upper voice parts • They are appropriate between tenor and bass • Voice crossings are generally always avoided

Chordal Spacing and Structure • Voice overlaps occur when one voice moves higher or lower than the preceding note of the adjacent voice (usually between tenor and bass) – try to avoid them; they aren’t fatal.

Chordal Doubling • NEVER double the leading tone ^7 in Major and #6 and #7 in minor • They resolve by step and have a strong tendency to create parallel octaves or 5th • Avoid doubling altered notes

Guidelines for Correct Partwriting • Utilize common voices and small motions • Conjunct motion is best; avoid large leaps • No augmented intervals; use diminished ones correctly • Never move all 4 voices in the same direction • Avoid // or contrary unisons, octaves, and Perfect 5th • Avoid intervals larger than an octave in S,A, & T • Avoid voice crossings and overlapping tones • Avoid doubling tendency tones and altered scale degrees

Partwriting in Four – Voice Texture Chapter 6