Summary of Part-Writing Practices

Stylistic Practices Triads

Stylistic practices refer to special part-writing situations that occur often. 1. Root Position. When two roots lie a P5th or P4th apart, keep the common tone and move the remaining two upper voices stepwise to the chord tones of the next triad. Double the root in these triads. 2. Root Position. When two roots lie a P5th or P4th apart, and especially when the soprano voice descends one step (such as from scale steps 2 to 1), it is sometimes not practical to keep the common tone. Move all three upper voices in similar motion to the nearest chord tone. Double the root in these triads. 3. Root Position. When roots lie a third apart, keep both common tones and move the remaining voice stepwise. Double the root in these triads. 4. Root Position. When roots lie a second apart, move the three upper voices in contrary motion to the bass, and make sure that each voice moves to the nearest chord tone of the next chord. Generally double the root in these triads, but in the progression V to vi or VI, double the third factor of the vi or VI triad. 5. Any PositionRepeated Chords. Maintain proper doubling, and avoid unstylistic departures, but otherwise, an exchange of chord factors among voices is acceptable. Change of position is common. 6. First Inversion. There are no established voice-leading patterns. Double any triad factor that facilitates smooth voice leading. Favored notes are the soprano (most common) and bass. Never double leading tone. Avoid unstylistic departures. 7. Diminished First-Inversion Triads (vii and ii). No established voice-leading pattern, but double bass note, avoid skips of a tritone, move all voices with as much stepwise movement as possible. 8. Second Inversion. No established voice-leading pattern, but double bass note and use only the four types of @ chords described in volume 1, chapter 9. 10. Resolve the 7th of the V chord down one scale degree in the same voice. In the few instances where the resolution tone is not present, either keep the 7th as a common tone or move it by the smallest melodic interval possible. 11. All four factors of the V are usually present. But, for smoothness of voice leading, the fifth may be omitted and the root doubled. 12. Resolve the seventh of the vii or vii (and inversions) one diatonic scale degree down to the tonic. 13. Resolve the root of the vii or vii upward to the tonic note. 14. Resolve the 7th of nondominant 7th chords one diatonic scale degree down to the 3rd of the next chord (in circle progressions). Otherwise resolve the 7th down one step if its resolution is a part of the following chord. 16. Double the bass note (3rd of chord) whenever possible. Move upper voices in contrary motion with the bass, and avoid chromatic voice leading in leaving the N . When N proceeds to i @ , watch out for parallel 5ths.

Dominant 7th Chords

Leading-Tone 7th Chords

Nondominant 7th Chords

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Summary of Part-Writing Practices (continued)

Unstylistic Departures Never Broken (Inviolate)

The following lists include stylistic practices that: (1) should never be broken, and (2) may occasionally be broken. These apply to all voice-leading situations including stylistic practices and override all other considerations. 1. Always avoid parallel P8ths, P5ths, and P1s (unisons). 2. Never double the leading tone of the scale (scale degree ^7). 3. Always keep all four voices within their range. 4. Always avoid the melodic A2nd and A4th. Under most voice-leading conditions these should be followed but may be broken occasionally for expressive voice leading or other musical considerations. 5. Keep voices in order: soprano, alto, tenor, bass. 6. Spacing between adjacent three upper voices should not exceed an octave. 7. Overlapping should be avoided. 8. Avoid hidden parallels. 9. Parallel unequal fifths are allowed occasionally, but use sparingly. 10. Diminished and augmented melodic skips: d5th and d4th are allowed sometimes, but A2nd and A4th, never. 11. When the leading tone is in an outer voice (soprano or bass), it should progress upward to the tonic.

Occasionally Broken

Summary of Triad Doubling Practices

Major Keys: I Minor Keys: i Choice:

ii ii

iii III

IV iv

V V

vi VI

vii vii

1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2

Root Pos.: R R R R R R R R 3 3 R 1st Inv.: S B S B B S B S B S B S B *S R S 3 3 R B 2nd Inv.: B B B B

* Never double the 3rd of the V triad (the leading tone).

Legend: 1 2 R S 3

= = = = = =

First Choice Second Choice Root Soprano 3rd of Triad Either no preferred practice, or does not apply.

As a rule of thumb (may be broken occasionally for better melodic line): Double Root Soprano or Bass Bass Note Bass Note Position and Chord Type Root position major and minor triads. First inversion major and minor triads. First inversion diminished triads (vii and ii) . Second inversion major and minor triads.

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