What is Closed Position?
Closed Position has the notes are as close as possible so that no chord tones can be inserted between the Soprano, Alto, and/or Tenor voices.
What is Open Position?
Open Position has the notes spaced so that chord tones can be inserted between the Soprano, Alto, and/or Tenor voices.
What part of a chord should be doubled in 4-part texture?
The Root.
What scale degree should NEVER be doubled in 4-part texture when harmonizing a Dominant or Leading Tone chord?
The Leading Tone
What part of a ROOT position chord can be omitted in 4-part texture?
Scale Degree 5.
In what cases should you not omit a given chord tone?
Inverted harmonies should have all chord tones present.
What are the four types of motion between voices (counterpoint)?
Similar motion, Parallel motion, Oblique Motion, Contrary Motion
What kind of motion is best in outer voices?
Contrary Motion.
What kind of motion is the least effective?
Parallel Motion.
When moving from chord to chord in a progression, aim to use stepwise motion, otherwise known as _______ motion in the middle voices (alto and tenor).
Conjunct
When moving from chord to chord in a progression, the outer voices (Soprano and Bass) can use leaping motion, otherwise known as ______ motion, but avoid leaping more than an ______.
Disjunct, Octave.
These two voice parts have vocal ranges move a 12th from C up to G: _____________ and ______________.
Soprano and Tenor
This voice part spans an 11th from G up to C: ________________.
Alto
This voice part spans an 13th from E up to C: ________________.
Bass
Generally, if the distance between the soprano and tenor is less than an octave, and the chord tones are as close together as possible, the voice spacing is called _______________.
Closed Position
Generally, if the distance between the soprano and tenor is an octave or more, and the chord tones are not as close together as possible, then the voice spacing is called _______________.
Open Position
What part of a chord can be doubled, but not typically?
The 5th
What part of a chord should generally not be doubled, except in specific circumstances?
The 3rd
When the V7 is harmonized in 4 part texture, both the leading tone AND the _______ of the chord should not be doubled.
7th
In seventh chords, it's generally OK to omit the _________ of the chord, but the _________, ________, and __________ must be present.
In seventh chords, it's generally OK to omit the 5th of the chord, but the root, 3rd and 7th must be present.
Incomplete V7 chords resolve to ______________ I chords.
Complete
Complete V7 chords resolve to _______________ I chords.
Incomplete
In Contrary motion the voices move in _____________ directions.
Opposite
In Similar motion, the voices move in the ___________direction but not at the same interval.
Same
In Oblique motion, one voice remains __________, while the other voice moves.
Stationary
In Parallel motion, the voices move in the __________direction and at the same interval.
Same
What intervals are not acceptable for parallel motion in 4 part chorale style: ______, ________, & _______.
Unisons, Octaves or 5ths
The inner voices should generally not leap greater than a __________.
4th
The ___________ voice should not leap greater than an octave, although the __________ voice could leap greater than an octave.
Soprano, Bass
Which two voices should not leap larger than a 4th?
Alto, Tenor
Which two voices can leap larger than a 4th, but generally not more than an octave?
Soprano, Bass
What kind of parallel motion is NOT OK?
Parallel motion in Unisons, Octaves or 5ths
If two voices leap to create a perfect interval you will cause Hidden Octaves, True or False?
True
The ________ of any chord is the lowest note in a stack of 3rds, while the __________ note is the lowest sounding/written pitch in a harmony.
Root, Bass
In root position triads, one should aim to double the __________. In first inversion triads, one should aim to double the ____________. In second inversion triads, one should aim to double the _____________.
Root, Soprano, Bass
One should never double the _______________ or the _____________ of any Dominant 7th chord.
Leading Tone, 7th
There should never be more than an _____________ between the soprano and __________ or the alto and the _______________.
Octave, Alto, Tenor
If the soprano moves below the alto, then this part writing error is known as ________________ ______________.
Voice Crossing
If the tenor moves below the last sounded note in the bass, then this part writing error is known as ________________ ______________.
Voice Overlap
Is it possible for two voices to share the same note?
Yes
Is it OK for the tenor to leap a 5th?
No
Is it OK for the bass to leap an 8ve?
Yes
Is it OK for the soprano to leap a 9th?
No
Is it OK for the alto to leap a 4th?
Yes
True or false: are parallel 4ths OK?
True
True or false: are parallel 8ves OK?
False
True or false: are parallel 6ths OK?
True
If the soprano and bass leap in the same direction or in opposite direction to form a Perfect 5th, what kind of part writing error is this?
Hidden 5ths
What is the difference between the bass and the root of any chord?
The root of any chord is the lowest note in a stack of 3rds, while the bass note is the lowest sounding/written pitch in a harmony.
In _________ triads, one should aim to double the Root. In _______________ triads, one should aim to double the Soprano. In _________________ triads, one should aim to double the Bass.
Root, first inversion, second inversion
One should never double the _______________ or the _____________ of any Dominant 7th chord.
Leading Tone, 7th
If the soprano and bass leap in the same direction or the opposite direction to form a Perfect 8ve, what kind of part writing error is this?
Hidden Octaves
Are Hidden Octaves in the inner voices as important as Hidden Octaves in the outer voices?
NO
The inversions of V7, like all inverted harmonies generally are____________ chords so that all chord tones are present.
Complete
_____________inverted V7 chords are not favorable.
Incomplete
Compared to V6/3 and viio 6/3 chords, the inversions of the V7 chord create an even stronger urgency to resolve to _____________________. This is because the V7 contains the intervals of a ___________________ and a ____________________.
Tonic, Tritone, Minor 7th
By adding scale degree 4 to a Dominant triad, imposes a descending stepwise motion from scale degree ________ to scale degree ________.
4, 3
Because of the tritone, V6/5 generally resolves to ____________. However, if the V6/5 is part of an _____________________of V through arpeggiation, then it doesn't resolve immediately to Tonic.
Tonic, Expansion
Generally, the V4/3 functions as a _________________chord between I and I6.
Passing
The V4/3 functions so similarly to ___________, that the two chords are nearly interchangeable. Consequently, the V4/3 can resolve up or down to ____________ or____________.
viio6, I6, I
In the progression I-V4/3-I6, when the bass line moves stepwise and creates parallel 10ths with the soprano, the 7th of the V 4/3 chord doesn't have to resolve _____________ from SD 4 to SD 3.
Down
Because of the tritone, V4/2 generally resolves to ____________.
I6
V4/2 has two primary functions:
...
a. Passing from V or V7 to ___________.
...
b. Neighbor function to ___________.
I6, I6
When resolving inverted V7, look for the common tones that connect it to the Tonic. Repeating the common tone in the same voice will create for _______________ voice-leading.
Smooth
If you double Scale Degree 3 in the Tonic resolution from an Inverted V7 to Tonic progression, this will result in ______________________ 5ths.
...
What part writing issue is created in the following progression: I -V6/5 - I6 ;
...
Why is it a problem?
SD7 to SD3
Doesn't allow SD7 to resolve to SD1, so V 6/5 should usually go to I 5/3.
...
The viio6 chord can be used to expand the progression of _______to _______
...
or _______ to _________. In these cases, the viio6 chord is used as a_________________ __________________ to expand the Tonic harmony.
I - I6
I6 - I
...
passing chord
...
What is a voice exchange? Provide an example.
When two voices exchange their musical material so that the starting note in one voice is the ending note in the other. For example, 3-2-1 in the soprano and 1-2-3 in the bass is a voice exchange.
When using the viio6 in major or minor, typically, SD 2 is doubled, but sometimes SD ________ can be doubled in an inner voice. However, one should never double the ______________-___________.
4, Leading-Tone
When expanding the Tonic harmony between I and I6 with a passing chord, the _________ and the _____________ are good choices.
V4/3, vii06
If the bass is scale degree 2, what two chords can be used to harmonize the bass? This chord usually functions as a ___________________ chord or a ___________________ chord.
V4/3, viio6, passing, neighbor
If the bass is scale degree 7, what chord can be used to harmonize the bass? This chord usually functions as a ___________________chord.
V6/5, neighbor
If the bass is scale degree 4, what chord can be used to harmonize the bass? This chord usually functions as a ___________________ chord or a
...
___________________ chord.
V4/2, passing, neighbor
For the progression I -V4/3 - I6 , the bass line would be SD _____-______-______;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a_______________ chord.
1, 2, 3,
1,7,1
...
3,4,5 (others are possible)
...
passing
...
For the progression I - viio6 - I6 , the bass line would be SD _____-______-_____;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a _______________chord.
1, 2, 3
1, 7, 1
...
3, 2, 1 (others are possible)
...
Passing
...
For the progression I6 -V4/3 - I , the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
3,2,1
3, 4, 3
...
1, 7, 1 (others are possible)
...
Passing
...
For the progression I6 - viio6 - I , the bass line would be SD _____-_____-_____;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
3, 2, 1
1, 7, 1
...
5, 7, 1 (others are possible)
...
passing
...
For the progression I -V6/5 - I , the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
1, 7, 1
1, 2, 1
...
3, 4, 3 (others are possible)
...
neighbor
...
For the progression I6 -V4/3 - I6 , the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
3, 2, 3
3, 7, 1
...
1, 7, 1 (others are possible)
...
neighbor
...
For the progression I -V4/3 - I , the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
1, 2, 1
1, 7, 1
...
3, 4, 3
...
neighbor
...
For the progression I6 -V4/2 - I6 , the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
3, 4, 3
1, 2, 1
...
5, 5, 5 (others are possible)
...
For the progression V-V4/2 - I6, the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
5, 4, 3
7, 7, 1
...
5, 2, 3 (others are possible)
...
For the progression I-V4/2 - I6, the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
1, 4, 3
3, 2, 1
...
1, 7, 1
...
For the progression I6 - V6/5 - I , the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
3, 7, 1
3, 4, 3
...
1, 2, 3 (others are possible)
...
The end of a phrase is usually marked with a cadence. Typically at a Perfect Authentic Cadence, the harmonic progression is _______ to _______ with the bass moving from _________ to ________ and the soprano moving from _________/________ to __________. Wh
V - I
5 -1
...
2/7 - 1
...
less stable
...
Imperfect Authentic Cadence
...
It is possible for the Tonic chord to expand the Dominant harmony as a
...
____________________ chord.
passing
For the progression V4/3 - I - V6 , the bass line would be SD _____-______-______ ;
...
2 good soprano lines might be SD _____-______-_____ and SD _____-______-_____.
...
The Middle chord functions as a ___________________________ chord.
2, 1, 7
5,5,5
...
7,1,2 (others are possible)
...
passing
...
When creating soprano lines that support Dominant 7th harmonies, it's important to remember that generally, all dissonances should resolve in the opposite direction. So:
...
a. If the soprano leaps up a Minor 7th, the resolution should be
...
______________ by step.
...
b. If bass leaps down a Diminished 5th, the resolution should be
...
______________ by step.
down
up
...
In minor keys, the motion from SD 3 up to the Leading Tone creates an
...
_____________________ 5th; this type of melodic motion should be avoided.
...
Why?
Augmented
Because dissonant leaping intervals should resolve in the opposite direction by step. If you jump from SD 3 in minor to the leading tone (SD &), it must resolve UP.
...