Procedures of Four-Part Writing

Procedures of Four-Part WritingChord Construction and Voice-Leading

Four VoicesSopranoAltoTenorBass

G 5 '' 5

5� '

Soprano Alto Tenor Bass

Notation Style

��

GE55 55 55 55 55 5 :5 5

�5� 55

�E 5555 55 55 5 55 5 5 55

Notation Style

��

GE55 55 55 55 55 5 :5 5

�5� 55

�E 5555 55 55 5 55 5 5 55

Soprano and alto in the treble clef

Notation Style

��

GE55 55 55 55 55 5 :5 5

�5� 55

�E 5555 55 55 5 55 5 5 55

Bass and tenor in the bass clef

Notation Style

��

GE55 55 55 55 55 5 :5 5

�5� 55

�E 5555 55 55 5 55 5 5 55

Stems distinguish one voice from another

Notation Style

��

GE55 55 55 55 55 5 :5 5

�5� 55

�E 5555 55 55 5 55 5 5 55

Stems distinguish one voice from another

Note the unison on the third beat

Doubling

All else being equal, it’s best to double the rootHowever, any note of a chord may be doubled unless it is a note which requires a specific resolution, such as:

The 7th of a seventh chordThe leading tone

Doubling

Do not think of “double the root” as a hard-and-fast rule.A progression can be vastly improved sometimes by doubling notes other than the root.

Doubling

GEE BB BB BB BB ''�EE B

B BB BB BB ''

GEE BB BB BB BB ''�EE B

B BB BB BB ''

In this first example, doubling the root of the first two chords results in a parallelfifth (an illegal motion) being written between the two inner voices.

In this revision, the third of each chord is doubled (between tenor and soprano in thefirst chord, and between bass and tenor in the second chord) and solves the problem.

Complete and Incomplete Chords

Chords are complete when they contain at least one instance of each chord element (root, 3rd, 5th, etc.)Chords are incomplete when one of those elements is missing.

Incomplete Chords

It is sometimes necessary to write incomplete chords to avoid problems with voice-leading.

Do not write incomplete chords in inversionsGenerally speaking double (or triple) the root and omit the fifth of the chordNever omit the 3rd of a chord!

Spacing

Do not allow more than one octave between two adjacent voicesBetween bass and tenor the distance may be as much as two octaves

Exercises: Tonic Triad

6 6$ 6 6

4£ 6% 4"

&bbb 1 2 3 4 5 6 7 8 9 10

&bbb1 2 3 4 5

˙̇ ˙̇ ˙˙ ˙̇ ˙̇ ˙

˙ ˙̇ ˙̇ ˙̇ ˙̇˙̇ ˙̇ ˙̇ ˙̇ ˙̇ ˙̇ ˙̇

˙˙ ˙̇

˙̇ ˙̇ ˙̇ ˙̇ ˙̇

˙̇˙̇ ˙̇ ˙˙ ˙̇

Exercises: Dominant Triad6 6$ 6 6

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&bbb 1 2 3 4 5 6 7 8 9 10

&bbb1 2 3 4 5

˙̇ ˙̇ ˙˙ ˙̇ ˙̇ ˙

˙ ˙̇ ˙̇ ˙̇ ˙̇˙̇ ˙̇ ˙̇ ˙̇ ˙̇ ˙̇ ˙̇

˙˙ ˙̇

˙̇ ˙̇ ˙̇ ˙̇ ˙̇

˙̇˙̇ ˙̇ ˙˙ ˙̇

Exercises: Dominant 7th Chord

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˙̇ ˙̇ ˙˙ ˙̇ ˙̇ ˙

˙ ˙̇ ˙̇ ˙̇ ˙̇˙̇ ˙̇ ˙̇ ˙̇ ˙̇ ˙̇ ˙̇

˙˙ ˙̇

˙̇ ˙̇ ˙̇ ˙̇ ˙̇

˙̇˙̇ ˙̇ ˙˙ ˙̇

Open and Close Position

Open: a chord element could be placed between any two of the upper three voicesClose: no chord elements could be placed between any of the upper three voices

Identifying Close and Open

G�� ''��

G�� ''�� ''

G�� ''��

Keyboard Style

Comes from the old system of “realizing” a figured bass lineThe right hand is used to play the upper three voices, while the left hand plays the bassThe upper three voices are written in the treble clef, while the bass line is written in the bassThe soprano line may or may not be stemmed separately from the alto and tenor

Keyboard Style

��

G�� 555 555 555 555 555 555 BBB 555 555 555 555 555 555 BBB�� 5 5 5 5 5 5 B 5 5 5 5 5 5 B

Melodic Motion

Conjunct Motion

Melodic Motion

Conjunct MotionDisjunct Motion

Small leaps (up to about a fifth) aren’t much of a problem

Small leaps (up to about a fifth) aren’t much of a problemLarger leaps need to be handled more carefully:

The octave is the maximum distance

The octave is the maximum distanceAvoid two in a row in the same direction, unless they arpeggiate a triad (and even then be careful!)

The octave is the maximum distanceAvoid two in a row in the same direction, unless they arpeggiate a triad (and even then be careful!)Generally after a larger leap, return stepwise in the opposite direction whenever possible

Do not allow a leap of an augmented second

G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

These are all good

These are leaps involving sixths and above

G 5good

5 5 5 5good

5 5 5 5poor

5 5 5 5good

5 5 5 5poor

5 5 55

forbidden55 5

Multiple leaps, some good, some not

G 5poor

5 5 5 5good

Simultaneous Motion

Simultaneous MotionParallel Motion

Both voices move in the same direction and retain the same interval between them

Similar MotionBoth voices move in the same direction, but the interval between them changes

Oblique MotionOnly one voice moves while the other remains stationary

Contrary MotionThe voices move in opposite directions

Simultaneous Motion

G '' ''

Simultaneous Motion

G '' ''

Similar

Simultaneous Motion

G '' ''

Simultaneous Motion

Contrary

G '' ''

Simultaneous Motion

G '' ''

Simultaneous Motion

Parallel

G '' ''

Simultaneous Motion

G '' ''

Simultaneous Motion

Oblique

G '' ''

Simultaneous Motion

G '' ''

Simultaneous Motion

Parallel

G '' ''

Simultaneous Motion

G '' ''

Simultaneous Motion

Contrary

G '' ''

Simultaneous Motion

G '' ''

Simultaneous Motion

Trick Question! No motion at all

G '' ''

Simultaneous Motion

G '' ''

Simultaneous Motion

Oblique

G '' ''

Simultaneous Motion

G '' ''

Simultaneous Motion

Contrary

G '' ''

Simultaneous Motion

G '' ''

Simultaneous Motion

Similar

G '' ''

Forbidden Parallel Motions

Motion by octaves G BB BB

Motion by octaves

Motion by unisons

G BB BB

Motion by octaves

Motion by unisons

Motion by fifths

G BB BB

Forbidden Contrary Motions

Octaves G BB BB

Forbidden Contrary Motions

Octaves

Fifths G BB BB

G BB BB

Hidden (Direct) Motions

Fifths G BBBB

Fifths

Octaves G BB BBG BB

Hidden, or direct, motion is a problem only if:

Hidden, or direct, motion is a problem only if:1. It occurs between the outer voices AND

Hidden, or direct, motion is a problem only if:1. It occurs between the outer voices AND2. The soprano is moving by leap

Otherwise, don’t worry about it

Voice Crossing

Forbidden for now G BB BB

Overlapping

Forbidden for now G BB BB

Practice

The following progression contains many mistakes of chord construction and voice-leading. Find as many as you can.Hint: there are at least 23 errors!

GEEE BB BB BB BB BB BBBB BB BB BB BB BB BB BB ''

�EEE BB BB BB BB BB

BB BB BB BB

BB BB BB

BB BB BB BB

BB BB BB

Parallel octaves between soprano and bass

BB BB BB BB

BB BB BB

Doubled leading tone between bass and soprano

BB BB BB BB

BB BB BB

Incomplete chord: no 3rd

BB BB BB BB

BB BB BB

Parallel fifths between soprano and bass

BB BB BB BB

BB BB BB

Hidden octave between soprano and bass

BB BB BB BB

BB BB BB

Parallel unison between tenor and alto

BB BB BB BB

BB BB BB

Hidden octave between bass and soprano

BB BB BB BB

BB BB BB

Overlap between alto and soprano

BB BB BB BB

BB BB BB

Spacing error between tenor and alto

BB BB BB BB

BB BB BB

Parallel fifth between bass and alto

BB BB BB BB

BB BB BB

Parallel fifth between bass and alto

BB BB BB BB

BB BB BB

Improperly incomplete chord: no 3rd

BB BB BB BB

BB BB BB

Parallel fifths between tenor and alto

BB BB BB BB

BB BB BB

Parallel octaves between bass and soprano

BB BB BB BB

BB BB BB

Fifths by contrary motion between bass and tenor

BB BB BB BB

BB BB BB

Voice crossing between tenor and alto

BB BB BB BB

BB BB BB

BB BB BB BB

BB BB BB

Parallel fifths between bass and tenor

BB BB BB BB

BB BB BB

Doubled leading tone in tenor and soprano

BB BB BB BB

BB BB BB

BB BB BB BB

BB BB BB

Parallel octaves between alto and bass

BB BB BB BB

BB BB BB

BB BB BB BB

BB BB BB

Incomplete chord: no 3rd

Procedures of Four-Part Writing

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