Music Theory – Part writing for root position chords Basic guidelines:

1. Treat inner voices (alto and tenor) with same parameters as you treat the melody. a. Avoid augmented leaps b. Avoid consecutive leaps in the same direction (esp. P4 or larger) c. Tendency notes and their resolutions should be observed

2. The fifth of the chord is the least important 3. A final tonic chord (I) often omits the third, leaving a tripled root. 4. Do not double ^7.

Methods for part-writing Note that this is written for 4-pt. textures only,

as those wil be the predominant texture Root Position writing with Repeated Roots

Chord tones can bee arpeggiated as spacing and leap conventions allow Other methods for 4th (5th) movement can apply see below

Root Position writing for Roots a 4th(5th) apart

Keep the common tone; move the other two voices in similar motion (contrary to the bass motion) Move all 3 upper voices in similar motion with no leaps larger than a 3rd (usually contrary to bass

motion) Keep the common tone; 3rd in chord 1 leaps to 3rd of chord 2; remaining voice moves by step

Root Position Writing for Roots a 3rd (6th) apart

Keep 2 common tones; move remaining voice contrary to bass

Root Position Writing for Roots a 2nd (7th) apart (When the root is doubled in chord 1) If the bass moves up a step, all chord tones move down to

the next chords tone for chord 2 (for V-vi progression) When ^7 resolves up, other voices move down, contrary to the bass (which

should result in a doubled 3rd in chord 2) (for V-vi progression) When the ^7 is in an inner voice, it con resolve down to ^6. Other vocies

resolve down to the next chord tone. This is not acceptable in minor mode.