0% found this document useful (0 votes)
42 views3 pages

ML2 Week 3 Tutorial Notes

The document discusses techniques for four-part vocal harmonization including tendency tones, second inversion chords, counterpoint rules, melodic writing, mixture, cadences, and chord progressions. It also lists rules for four-part vocal style such as avoiding overlapping voices, forbidden intervals, and resolutions.

Uploaded by

Calvin Nest
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
0% found this document useful (0 votes)
42 views3 pages

ML2 Week 3 Tutorial Notes

The document discusses techniques for four-part vocal harmonization including tendency tones, second inversion chords, counterpoint rules, melodic writing, mixture, cadences, and chord progressions. It also lists rules for four-part vocal style such as avoiding overlapping voices, forbidden intervals, and resolutions.

Uploaded by

Calvin Nest
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 3

Sequences (revision)

Example a): Cycle of 5ths -- OK but random!

& 44 ˙˙ ˙˙ ˙˙ ˙œ œ œ œ ˙ œ
œ œ
˙˙ ˙˙
˙
˙œ œ œ œ˙ œ œ ˙ ˙
? 44 œ ˙ ˙˙ ˙˙ œ˙ œ œ ˙ ˙
ø7 4
C maj: I IV 65 vii iii 7 vi 3 ii 7 V2
4
I6

Example b): Repeating pattern -- much clearer!

& ˙˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙˙ ˙˙ ˙
˙
˙œ œ ˙˙ ˙œ ˙ ˙œ ˙ ˙œ ˙
? œ ˙ œ ˙ œ ˙
6 ø4 6 4 4
C maj: I IV 5 vii 2 iii 5 vi 2 ii 65 V 2 I6

Mixture Chords

& ˙˙ b œ˙ œ ˙˙ b ˙œ bœ ˙˙ b b œ˙ œ
˙˙ ˙˙ ˙ ˙ ˙˙
? ˙ ˙ b ˙˙

C maj: ii ii o ø7
IV iv 7 vi b VI 7

Diatonic Borrowed Diatonic Borrowed Diatonic Borrowed


from C min from C min from C min
Music Language 2 (MUSI20061) – Semester 2, 2017
4-Part Vocal Harmonisation Techniques

Tendency tones:
• Resolution of leading tone almost always resolves upwards by step
(unless a retardation)
• Generally don’t double root of vii – this is the leading tone
• 7ths resolve downwards by step
• Tones flattened through mixture should resolve in a particular direction
• Observe the resolution of tritons (contrary motion inwards or
outwards, depending on the inflection of the chord tones)
Second-inversion chords: as elaborations of the prevailing harmony
• Too oft used incorrectly!
o Chord "I in second inversion" in Chorales ONLY before an authentic
cadence (i.e., as a CADENTIAL 6/4, elaborating V)
o Chord V or V7 in second inversion to aid in passing ONLY – the bass
line should step melodically
o Other chords in second inversion should be studiously avoided, unless
they effect good passing in the bass…
Counterpoint rules:
• Doubled thirds – is only really permissible in VI, and in first inversion chords
• Voice crossing : don't
• Parallel 5ths/8ves : don't
• Spacing between voices – no more than an 8ve, except between tenor and bass

Melodic writing:
• Avoid awkward melodic leaps (i.e. large leaps – except in the bass, and
awkward intervals, including augmented 2nd, augmented 4th, major 7th…)
• Generally, parts should move as little as possible (except bass – which is used
to leaping)
• If a chord tone is in two adjacent chords, keep it in the same voice in both
chords
• PASSING NOTES CANNOT SAVE CONSECUTIVE 5ths, BUT MAY CAUSE
THEM!

Mixture:
• Careful of false relations – make sure the raised chord tone is inflected flat IN
THE SAME VOICE – otherwise sounds a bit jarring

Stems:
• Soprano and Tenor – UP
• Alto and Bass – DOWN

Cadences:
• In a half cadence, don’t finish on V7 – too unstable
• Choose a correct cadence – VI-I is not a cadence, neither is V-ii

Choosing harmonic progressions:


• Consider basic progressions:
o I – dom prep (ii, IV, vi) – V – I/VI OR
I – dom prep – applied dominant (V/?) – tonicised chord (?)
o V doesn’t flow nicely to IV (feels weak)
Four Part Vocal Style RULES (In no particular order)
Ø Overlapping voices: Voices must not overlap. This includes inner parts.
Ø Augmented 2nds (minor key). Avoid movement in any voice between the flat
6/sharp 7. E.g. bass iv to V6/5.
Ø Leading tone resolutions. Leading tones in chord V/vii should always resolve
up to the tonic. On rare occasions they can move down to the 5th at a cadence (if
there is no alternative).
Ø Consecutive leaps. Leaps are discouraged in all voices except bass. If they must
be used, use them very sparingly. Even in bass, there should not be a trail of
consecutive leaps greater than a 2nd/3rd. Leads to unflowing chorale.
Ø Incomplete chords. Check your chords to make sure you have included all the
notes! In general, always double check that your chords match your analysis,
common error!
Ø Using the 6/4 chord. As a passing chord or an elaboration of dominant. Not to
be used as a substitute for normal chords. Can arpeggiate a chord (God Save the
Queen/King)
Ø Parallel 5ths and 8ves. Check! Sop-alto, Sop-tenor, Sop-bass, alto-tenor, alto-
bass, tenor-bass.
Ø Doublings. Please refer to the doubling rules. Do not double the third except in
variants of chord VI. Do not double the bass note of a first inversion!
Ø Tritone leaps. Must be avoided in inner voices, and only occasionally ok in the
bass when leaping down to the 7th.
Ø Cadence selections (root pos.). Choose appropriate and strong cadences.
Inversions tend to make for weaker cadences, unless if part of a half cadence,
and only on the first chord (e.g. iv6-V).
Ø Resolutions of 7ths. Refer to lecture slides! Usually they should resolve down a
step for the next chord.
Ø Chord functions. A successful chorale will make use of the chord functions in a
progressive way. Following the tonic-anything, subdominant-subdominant or
dominant, and dominant-dominant or tonic rules will lead to a stable chorale.
Ø Accidentals. Don’t forget them! Numerous examples of students forgetting
accidentals in the key signature, especially for mixture chords.
Ø Vocal ranges. Adhere to them. Biggest risk is with tenor going too low – tenor
should stay above D in general and not be too close to the bass when in the low
register.
Ø Consecutive mixture chords. This can create ambiguity as to the key of the
exercise and cloud chord function. Be careful.
Ø Gaps between sop-alto, alto-ten. Maximum of an octave!
Ø Phrase beginnings (key). Don’t begin on vii43 or a chord that will make the
chorale sound ambiguous.
Ø Using root position chords reasonably frequently. Inversions are fantastic
but don’t use six in a row. A successful chorale will have a good balance of root
position and inversion chords to create contrast and flow. Too many root
position chords is dull, too many inversions will be unstable.

You might also like