1. AP Music Theory Mr. Silvagni
Part-Writing Rules
AP Music Theory
Mr. Silvagni

2. Part Writing
Part writing requires knowledge of melody, intervals, triads, 7th chords, cadences, non-chord tones, figured bass, chromatic harmony, resolution tendencies, and counterpoint as well as progressional norms for the Common Practice Period.

3. Simple Part-Writing Rules
Know the vocal ranges and stay within the heart of each range

4. Simple Part-Writing Rules
2. Write for four different voices; they are individual characters
The bass line is given
The soprano is always the melody
The alto and tenor are as static as possible

5. Simple Part-Writing Rules
3. Motion is the key to successful counterpoint

6. Simple Part-Writing Rules
4. Don’t confuse the ear!
Crossed voices – the voices cannot cross, i.e. the soprano cannot be written lower than the alto
Voice overlapping – the voices cannot overlap, i.e. the soprano cannot be lower than the alto was in the prior chord

7. Simple Part-Writing Rules
5. Spacing is an issue.
The soprano and alto cannot exceed an octave from each other
The alto and tenor cannot exceed an octave from each other
The tenor and bass cannot exceed a perfect 12th (octave and a fifth) from each other

8. Simple Part-Writing Rules
6. Double the root first, the fifth second, and the third with a reason. NEVER double the leading tone (Ti) or a chordal seventh
Your first choice is to double the root of a chord especially if it is in root position
Double the fifth of a 64 chord or double the fifth as your second choice for root position chords
Double the third with reason (voice leading) or in some instances in minor chords, such as the ii6 to reinforce Fa, and doubling the third of the vi chord, especially when V goes to vi to avoid parallelism
Include all four members of a 7th chord; however, when V7 goes to I (in a root position cadence) it is very common to omit the fifth of the tonic triad

9. Simple Part-Writing Rules
7. Resolutions
If V goes to I (i) or vi (VI), then Ti resolves upward to Do
If viio6/viio65 or V7 goes to I (i) or vi (VI), then Ti resolves to Do and Fa resolves to Mi
If you have a seventh chord of any kind, then the 7th of the chord resolves downward, or holds until it can

10. More on Parallels No parallel 5th or 8va motion
No beat to beat parallel 5ths or 8vas
No parallel 5ths and 8vas by contrary motion
No unequal 5ths (d5 – P5) except
In progressions I – V43 – I6 and I – viio6 – I6
Between two upper voices in either order when the voices are descending
P5 – d5 is always acceptable
Hidden (or covered) 5ths and 8vas in outer voices (similar motion to a perfect interval that involves one voice moving by step)
When the step is in the upper voice – acceptable
When the step is in the lower voice – unacceptable
No direct 5ths or 8vas in outer voices (similar motion to a perfect interval that involves a skip in each voice)