First Inversion Triads Part-Writing Explained

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First Inversion Triads Part-Writing Explained

LearnMusicTheory.net 2.8 SATB Part-writing 4: First Inversion Triads Doubling Doubling the soprano with an inner voice is strongest, but any note can be doubled except the LT. Order of preference for doubling: double soprano note, double bass note, outer voices double, inner voices double. Don't double the leading tone! more common less common 1. Double soprano w/ 2. Double bass w/ 3. Double 4. Double inner voice inner voice outer voices inner voices C: IV6 C: IV6 C: IV6 C: IV6 First inversion tips The following 4-step process will work well for progressions involving root position and/or 1st inversion triads: STEP ONE: Write in the bass notes. If the progression is given, the inversion symbols determine the bass. STEP TWO: Voice the first chord, following the chord voicing guidelines. STEP THREE: Resolve leading tones, then doubled notes, then P5ths between any voices. STEP FOUR: Resolve any remaining voices, holding common tones when possible. STEP THREE: Example 1: No leading tone here. STEP FOUR: STEP ONE: bass line STEP TWO: voice chord F is the doubled note. One voice left! C: IV6 V C: IV6 V C: IV6 V C: IV6 V Example 2: STEP THREE: No leading tone here. STEP FOUR: STEP ONE: bass line STEP TWO: voice chord C is the doubled note. Resolve remaining voices. C:I V6 C:I V6 C:I V6 C:I V6 First inversion triads: special cases 1. Diminished triads almost always occur in first inversion. 2. Avoid VI6 / vi6; it sounds like tonic with a wrong note. NO! OK NO! OK NO! YES C: vii° vii°6 e: ii° ii°6 C: V6 vi6 C: V6 I The "A" sounds like a "wrong" note here. Copyright © 2010 by Mark Feezell. All Rights Reserved..

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