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FOUR-PART
HARMONY
WORKING IN KEYBOARD STYLE
Learning to connect chords smoothly and idiomatically is a crucial part of your early musical training. In
TH101, we will compose four-part harmony with two complementary methods: chorale style and keyboard style. This handout introduces both and then focuses on keyboard style, which we will use for most of
our assignments.
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A
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migh - ty
for
tress
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By contrast, keyboard style groups the top three voices on one staff, leaving the bass by itself on the bottom
staff. Stem direction still matters: the top voice is stemmed upward, while the inner voices are stemmed
downward together, as shown here:
& c
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Keyboard-Style Harmony, p. 2
By limiting the range of the upper voices, it encourages efficient, smooth voice leading in many
situations.
It makes illegal parallels between three pairs of voices (SA, ST, AT) easier to see.
It typically puts the RH in one of only a few standard configurationsor handshapesallowing
As in species counterpoint, parallel perfect fifths and octaves are forbidden, between any pair of voices.
However, parallel fourths are fine (!!!); indeed, you will use them often.
DIRECT (or HIDDEN) OCTAVES
When the outer voices move by similar motion, the soprano should move by step. If the soprano leaps,
the result is direct or hidden octaves, a sound that composers traditionally avoided. Inner voices
are note bound by this rule.
COMPLETE VS. INCOMPLETE CHORDS
Whenever possiblewhich is almost always!use complete chords. The only acceptable way to leave
a chord incomplete is to omit its chordal fifth. Your handouts on resolving V7 to I offer several scenarios
in which incomplete chords are acceptable and even necessary.
SMOOTH CONNECTIONS
Unless there is a compelling reason to do otherwiseusually for reasons of sculpting a nice melodyit
is wise to connect your chords as smoothly as possible in the right hand, moving voices by step (or not
at all!) whenever possible.
CONTRARY MOTION
All else being equal, it is wise to move your hands in contrary, rather than similar motion. This will ensure
that you avoid the most common opportunities for parallel P5s/P8s. When moving between 5/3 chords a
step apart (e.g., Iii, or Vvi), this is especially important!
Keyboard-Style Harmony, p. 3
HANDSHAPES
When playing triads or seventh chords in keyboard style, the right hand will tend to fall into one of 13 handshapes. These, in turn, fall into four families:
a.
TRIAD
c.
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7
5 -chords (i.e., root-position seventh chords)
3
4
2 -chords (i.e., third-inversion seventh chords)
NEUTRAL
a.
DISSONANT A
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6
5 -chords (i.e., first-inversion seventh chords)
DISSONANT B
&
4
3 -chords (i.e., second-inversion seventh chords)
7
3 -chords (i.e., incomplete seventh chords in root
c.
d.
b.
c.
a.
These are used for two types of chords (see below). They
are recognizable by their dissonant seventh or second.
b.
a.
position)
b.
&
b.
c.
Keyboard-Style Harmony, p. 4
HANDSHAPE DEMONSTRATION
On the next page, youll find a color-coded demonstration of handshapes used to realize a bassline in
keyboard style. Triad-style handshapes are shown in green; neutrals are shown in blue; and dissonants are
shown in red/orange. A few things to notice here:
As predicted, triad handshapes are the most common (11 out of 17 chords).
Triad handshapes are used not just for triads, but also for root position seventh chords (see the
ii7 chord in m. 4) and third-inversion seventh chords: notice how the bass under the vi chord (m.3)
moves down by step, producing a 4/2-chord, while the RH remains stationary!
The same Dissonant B handshape, on the same notes (!), is used in the first and last bars to realize
a dominant 4/3 chord AND an incomplete root-position V7. (The difference is that the missing
chordal fifth appears in the bass voice in bar 1, but not in bar 4.)
ADDITIONAL COMMENTS
NEUTRAL HANDSHAPES IN 3 VOICES
Notice that two of the neutral handshapes use two, rather than three notes. This is fine. Indeed, if you
have several 6/3 chords in a row, you may use a string of such handshapes, effectively reducing from
a 4-voice texture to a 3-voice one.
RELATION OF RH TO LH
Most of the neutral and dissonant handshapes have a gap of a fifth in them. When such handshapes
are used properly, the bass note will always be the missing note that would divide that fifth into
two thirds. (On the next page, look at the last chord in m. 1: see how the fifth FC could be divided
into thirds by an A? See the bass? Its A. Thats what I mean.)
DOUBLING in TRIADS
When you realize a 3-note chord in four voices, one note will appear twice. With 5/3 and 6/4 chords,
the doubled note should always be the same as the BASS voice. (I.e., the bass note will also appear
somewhere in the RH.) If you use a triad handshape for such chords, the correct doubling is guaranteed.
But with 6/3 chords, the correct doubling varies. This chartwhich applies in many but not all situationswill help you in the coming weeks:
CHORD
DOUBLE
HANDSHAPE
CHORD
DOUBLE
Ifl
any
note
TRIAD or
NETURAL
Vfl
root or
fifth
iifl
bass
TRIAD
vifl
iiifl
IVfl
any
note
TRIAD or
NETURAL
viifl
bass
HANDSHAPE
NETURAL
TRIAD
Keyboard-Style Harmony, p. 5
HANDSHAPE DEMONSTRATION
TRIAD
5 6 6 7
and 4
2
3 3 4 5
3
a.
b.
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CLICK TO PLAY
b
& b
? bb
V$
a.
&
Ifl
c.
V#
b.
vi
iifl
V#/V
c.
#
I@
w
w
w
V#/vi vi
a.
&
vi%
b.
DISSONANT A
DISSONANT B
4 and 7
3
3
6 only
5
a.
&
iifl
b.
c.
NEUTRAL
6 only
3
d.
ii
c.
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