Lesson with Drtornillo

Drtornillo has expressed interest in continuing his theoretical knowledge with 4-part writing. Drtornillo alread has command of the basic unerstanding of intervals, scale degrees and triads.

Lesson:

1) Drtornillo, 4-part writing is used to gain an understanding in harmony and voice leading that goes beyond creating music in 4-parts. While workin with 4-part writing our parts will be identified using the singing voices of Soprano, Alto, Tenor and Bass. These parts may be referred to as "the soprano/alto/tenor/bass voice". These 4-parts/voices have restrictions in regards to range that we will be using for the time being (see attachment for voice ranges).

2) The exercises will be presenting using the grand staff. Soprano and Alto will share the treble clef while tenor and bass will share the bass clef. All notes in the soprano voice must have the stems facing up while notes in the alto voice must face down. Likewise, all notes in the tenor voice must face up while all notes in the bass voice must face down (see attachment).

3) Next we come to the issue of doubling. As you know, a triad consists of 3 notes. These notes are delegated a specific function. For example, in a C Major triad (C-E-G) C is the root of triad/chord, while E is identified as the 3rd or the chord and G is identified as the 5th. The reason being is that E is a third about the root note C, while G is a fifth above the root note C. Therefore they are giving the names "3rd" and "5th" of the triad/chord. For the most part our exercises will use only triads. A triad has only 3 notes but we are working with 4-part harmony. Therefore one of these notes will be used twice. This is called doubling. It is more common to double the root while doubling the 3rd and 5th on occasion (see attachment).

Hi Majesty,

Ok, I've read the lesson carefully and understand it completely.

Just one question regarding spacing between the voices: as far as I know is always best to keep the three top voices within an octave from one another, is that correct?

We can go on from here

I'm glad you asked about the spacing becuase that was to be my next point to make.

Yes, it is best to keep the top 3 voices no further than an ocatave apart (for now).

When it comes to spacing, we have what is called "Open" and "Closed" Position.

In "closed position" all upper three voices are as close as possible within a single octave. If not then, the position is "open" with more than an octave between the soprano and tenor voice. Chossing and "open" or "closed" position will detrmine intensity or any given harmony/harmonic progression (see attachment).

Ok, I see the difference between chords in a closed position and chord in an open position. Choosing one or the other will depend on what is happening at that moment, however, chords in open or closed position can be used almost freely, right?

Yes, they can be used reely but also with intent. You will see that the voice leading of the 4 parts is and the spacing work together.


Here is a list of usual or basic harmonic/chord progressions for traditional practice.

1) I can be followed by IV or V or Vi and less often by ii and iii.
2) ii can be followed by V or IV or vi and less often by I or iii.
3) iii can be followed by vi or IV and less often by I, ii or V
4) IV can be followed by V or I or ii and less by often by iii or vi
5) V can be followed by I or IV or vi and less often by ii or iii
6) vi can be followed by ii or V or iii and IV and less often by I
7) vii can be followed by I or iii or vi and less often by ii, IV or V.

We will use #1 as our example. If we are in the key of C Major. the I or "Tonic" chord will be C-E-G (a C Major chord). A typical progression might be:

I going to IV, or I going to V, or I going to the vi chord.

A less typical progression would be I going to the ii chord or I going to the iii chord but still acceptable.

Make sense?

Yes, it makes sense , we can continue.

Ok, good.

Now we will go on to the rules of motion when proceeding from chord to another with all 4 parts/voices.

1) Consecutive or parallel perfect 5ths and octaves/unisons are not allowed.
2) Try to keep common tones in any part when progressing from one chord to another.
3) You must avoid approaching perfect 5ths and octaves by means of similar motion.
4) When the leading tone appears in the Soprano it must resolve up to the tonic in the following chord.
5) Avoid similar motion of all 4 voices (for now).

There are other "rules"/guidelines but as we continue I will point them out.

Hi!

I'm sorry y took so long to reply, but I've been quite busy during last week.

I'm okay with last lesson, we can go on.

Ok Drtonillo...

Again, sorry for the delay (as I PM'd you).

Here are some chord progressions that I want for you to write in 4parts and observing the rules of motion.

1) In G Major - I, IV, V, I
2) In Eb Major - I, ii, V, vi
3) In D Major - I, V, IV, V
4) In Bb Major - ii, IV, iii, IV, I
5) In A Major - I, VI, vii, iii, vi, ii, V, I