Chapter 5 – Essentials of Part Writing

There are certain procedures of that should be followed in order to write according to the 18th century practice that Bach set forth. The following will be highlighted: § The Single Chord § Connecting Chords (Voice Leading) § Triads with Roots in the Bass § Triads in Inversion § Non-harmonic Tones § Seventh Chords

1. The Single Chord i. Approximate range of the four voices:

ii. Triad Position • Open – distance between soprano and tenor voices is an or more • Closed – distance between soprano and tenor is less than an octave

• More than one octave may appear between bass and tenor • Don’t cross voices (i.e., tenor is higher than alto)

iii. Usual Doubling • in bass: Double the root. • : Double the soprano note. • : Double the bass note. • Exception: For minor triads with the root or third in the bass, the third is often doubled, particularly when the third is the tonic, subdominant, or dominant note of the key. • Diminished triad: Usually found in first inversion only, double the third. When the fifth is in the soprano, double the fifth. • Augmented triad: Double the bass note. • Seventh chord: Usually all four voices are present so no doubling is possible. However, in major-minor seventh chords, the root is in the bass, the root is doubled, and the fifth omitted. • Altered triad: Same doubling as non-altered triads. Avoid doubling the altered note unless that note is the root of a chord.

2. Connecting Chords (Voice Leading)

• Keep pitches in each voice as close together as possible. • Avoid parallel fifths and parallel in any two voices. Avoid the interval of an augmented second in the melodic line. • Resolve active tones to stable ones. • Do not cross voices. • Avoid large melodic skips with the exception of an octave leap in the bass voice. • If possible, move pitches in soprano and bass in oblique or contrary motion.

3. Triads with Roots in the Bass

i. Repeated Roots – When in the bass, the two triads may be written in same position or in different positions. • They should change when necessary to keeps voices in correct range. • They should change when necessary to maintain voice distribution of two roots, one third, and one fifth. • They should change to avoid large leaps in an inner voice.

ii. Roots a Fifth Apart • Keep the ; move other voices stepwise. • Move three upper voices in similar motion to the closest triad tones. • At , the root can be tripled and omit the fifth. • Move the third of the first triad by interval of fourth to third of the second triad. Keep the common tone and move other voice by step.

iii. Roots a Second Apart • Move three upper voices in contrary motion to bass.

iv. Roots a Third Apart • Keep the two common tones; other voice moves stepwise.

v. Exception • When impossible to follow these procedures, double the third in second of two triads. But, if the third is the leading tone or any altered tone, double the third in the first of two triads.

4. Triads in Inversion i. If one of the two is in an inversion, write to or from the doubled note first, using oblique or contrary motion. ii. If both triads are in an inversion, each triad must have different doubling to avoid parallel octaves and/or fifths. Try not to double the leading tone or any altered tone.

5. Non-harmonic Tones i. Temporarily replaces a harmonic tone ii. Approach and leave non-harmonic tones according to the type being used. iii. An accented non-harmonic tone should be considered as one of the chord tones.

6. Seventh Chords i. The seventh constitutes a three-note figure similar to passing tone, suspension, appoggiatura, and upper neighbor. ii. The seventh usually resolves down by step.

Distance Between Voices:

Repeated Triads: 1. Two choices • Same position • Different position 2. For the same position – move the upper three voices in similar motion Change the position in repeated triads: 1. When an upper voice moves out of its range 2. When there are large intervals in the inner voices 3. When the second triad contains no fifth The Authentic : 1. Root movement of a fifth a. Two suggestions: • Keep the common tone in the second chord (carry that tone in the same voice in the second chord). The other voices move by step. • Move the upper three voices in the same direction to the nearest chord tone (don’t keep a common tone). Alternative Procedures: 1. In the final cadence, the leading tone may move in any circumstance to tonic. This can cause an incomplete triad – three roots and a third 2. Anywhere in the phrase, the third of the V (leading tone) may skip an interval of a 4th. The other voice doesn’t move. This will change the voice.

Harmonizing a Melody: 1. Determine the scale step numbers for the melody 2. Determine what chord contains that scale degree – it can be any note of the chord. 3. Remember: the most common chords for harmonizing a melody are I-IV-V 4. Place the root of the triad in the bass clef 5. Write the triad numbers 6. Fill in the inner voices Keyboard Harmony:

1. Spell the dominant and tonic triads 2. Locate scale degree 7 – then the lower notes and play 3. Locate scale degree 1 – then the lower notes and play 4. Play the progression

Summary: 1. Important factors • Voice range • Doubling • Triad position Open – top 3 voices octave or more Close – top 3 voices less than an octave • Distance between voices 2. Repeated triads – change the position 3. Writing procedures: • Hold common tone and move other voices stepwise when writing V-I • Move upper 3 voices in similar motion when a common tone can’t be held.

Source: Elementary Harmony, Theory and Practice (5th Ed.) by Robert W. Ottman