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AP Music Theory Mr. Silvagni
Part-Writing Rules AP Music Theory Mr. Silvagni
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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.
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Simple Part-Writing Rules
Know the vocal ranges and stay within the heart of each range
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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
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Simple Part-Writing Rules
3. Motion is the key to successful counterpoint
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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
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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
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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
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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
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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)
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