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2.6 SATB Part-writing 2: The Fiendish Five
1. Avoid parallel fifths, octaves, and unisons

 
Static motion (both notes repeating) is OK! Unequal 5ths are º5-P5 or P5-º5.
Avoid parallel P5s, P8s, & PU (and their 8ve equivalents) They are allowed, EXCEPT º5-P5 involving bass.

between ANY two parts.
 
OK unequal 5ths

NO!

       
  8ves! 
NO!  NO!  
P5   º5 º5
 
P5

P8

P8 P5

5ths!
 P5  
C:IV I C:IV V C:I V7 C:V 6% I
º5-P5 involving bass
emphasizes unresolved

 
2. Avoid fifths or octaves by contrary motion º5 too much.

Fifths (or octaves) by contrary motion = P8-P8 or P5-P5 between same two parts EXCEPTION: contrary 8ves o.k. ONLY if:
Avoid contrary motion P5s/P8s between ANY two parts (unisons count like 8ves). 1. At cadence (end of phrase), AND


2. S & B BOTH state 5-1 of key

      
 
   
 
P5 NO!

NO! P8 P5 P8 OK

P8 P8

 
C:IV I C:IV I C:V I
3. Avoid direct fifths or octaves (also called hidden fifths/octaves)
Avoid direct P5ths and P8ves. A direct (or hidden) 5th/8ve fulfills ALL of the following conditions:

 
1. Soprano has a leap, not a step.
2. Soprano and bass moving in similar motion (both up or both down, but NOT parallel motion).
3. The goal interval is a P5 or P8 between soprano and bass (only).
OK: Soprano steps & NOT parallel 5ths

 
Leap
 
Leap
   
  
      
Direct Direct

NO! NO! P5
Fifth Octave

  
C:IV V7 C:IV ii C:I ^ V7

4. Use an accidental to make the LT in minor keys

Raise the seventh scale step in minor keys to make the V triad major and the viiº triad diminished.
 NO!


  

YES
  OK  NO!  OK

   
  
  


e:V? e: V
b-d-f# is minor! e: VII e: vii°? e: vii°
only resolves d-f#-a is major! but use
5. Always resolve tendency tones to III inversion for
4 parts
Leading tones:
a) Don't double LT!
b) S or B: LT resolves up by step; A or T: may resolve down a 3rd OR up by step.
c) Avoid viiº (or iiº) in root position due to the unstable diminished 5th above the bass.
Other tendency tones:
Sevenths of seventh chords resolve down by step.
+6 chords and N6 chords resolve according to standard patterns (see Chapter 3).
Copyright © 2010 by Mark Feezell. All Rights Reserved.