Chapter 6 Rules for Root Position PartWriting Rules

Chapter 6 Rules for Root Position Part-Writing

Rules for Part Writing with Repeated Roots �All Members of the Triad are Present. ◦ *The final I Chord is sometimes incomplete consisting of a 3 rd and a tripled root (more on this topic later). �The root is always doubled!!

Root Position Part Writing with Roots a 4 th/5 th Apart � 3 Versions 1. Common Tone and Stepwise: Ex. 6 -2 ◦ ◦ Keep Common Tone between the two chords The remaining two voices move contrary to the bass line Similar motion by a 2 nd or 3 rd : Ex. 6 -3 2. ◦ ◦ All 3 upper voices move in the same direction (typically opposite of the bass line) One voice moves by a 2 nd, the other two voices move by a 3 rd.

4 th/5 th Rules Cont’d. 3. Tertian Leap, Common Tone, Stepwise: Ex. 6 -4 ◦ ◦ ◦ Keep the common tone between chords Soprano voice leaps to the 3 rd of the approaching chord (hence the name Tertian Leap) The Remaining voice moves stepwise contrary to the bass

Root Position Part-Writing with Roots a 3 rd/6 th Apart �Two Common Tones and Stepwise: Ex. 6 -6 ◦ Keep the two common tones between the two chords ◦ The remaining voices move by step contrary to the bass line

Root Position Part Writing with Roots a 2 nd/7 th Apart �Contrary to the Bass: Ex. 6 -8 ◦ The Upper Voices Moves contrary to the bass to the nearest chord tone. �Results in 2 voices moving by step, 1 voice moves by a 3 rd �Deceptive Progression: Ex. 6 -9 ◦ V-VI= Need to Double the 3 rd of the chord rather than the Root

Instrumental Ranges and Transposition �Concert Pitch vs. Transposed Pitch �Written Range vs. Sounding Range �See Appendix A