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Part Writing Rules 2015

The document outlines five rules for part-writing: 1) Repeated roots - voices move in the same direction as the soprano or exchange notes. 2) Roots a 5th apart - keep the common tone stationary or move voices together. 3) Roots a 2nd apart - voices move in opposite directions to the bass. 4) Roots a 3rd apart - keep common tones and stepwise motion. 5) If rules cannot be followed, double the 3rd of one chord. The document also lists things to avoid like parallel intervals, contrary motion, direct intervals, and voice crossings.

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23 views5 pages

Part Writing Rules 2015

The document outlines five rules for part-writing: 1) Repeated roots - voices move in the same direction as the soprano or exchange notes. 2) Roots a 5th apart - keep the common tone stationary or move voices together. 3) Roots a 2nd apart - voices move in opposite directions to the bass. 4) Roots a 3rd apart - keep common tones and stepwise motion. 5) If rules cannot be followed, double the 3rd of one chord. The document also lists things to avoid like parallel intervals, contrary motion, direct intervals, and voice crossings.

Uploaded by

hana
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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PART-WRITING RULES

RULE 1: REPEATED ROOTS


Rule 1A: If the roots are repeated and the soprano moves,

same ________________
move the other voices in the __________ direction
soprano
as the __________________.

Rule 1B: If the roots are repeated and the soprano moves, the

exchange notes
soprano ___________________ ___________ with another

stays the same


voice while the 3rd voice stays the _____________.

RULE 2: ROOTS A 5th (4th) APART

Rule 2A: If the roots are a 5th apart (the 5th of one chord and
the root of the other will be the common tone),

keep
____________ common tone___________
the ___________________

stepwise
and move the other voices _________________________.
Rule 2B: If the roots are a 5th apart and the common tone is

not kept, move the other voices in the _____________


same direction
_______________________ as the

soprano
______________________.

Rule 2C: If the roots are a 5th apart, keep the


common tone 3rd of the
_______________ __________, move the _______

3rd of the next chord, and move the


first chord to the _______

step wise
3rd voice ___________________.

RULE 3: ROOTS A 2nd (7th) APART


Rule 3: If the
roots are a
2nd apart,
move the
voices in the

opposite
direction _____________________ to the movement of the

bass
_____________.
RULE 4: ROOTS A 3rd (6th) APART
Rule 4A: If the roots are a 3rd apart, keep the two
common tones
____________________ ____________ and move the other

stepwise
voice _____________________.

Rule 4B: If the roots are a 3rd apart and there is a leap in

close
the soprano, change the voicing from ______________ to

open
_______________ or vice versa.

RULE 5: PANIC TIME


Rule 5: If it is impossible to follow the rules, double the

3rd
____________________ of one of the chords.unless it is a leading tone.
THINGS TO AVOID
Parallel intervals happen when two voices move in the same
direction from one chord to the next while keeping the same interval.
Parallel movement is normally not a problem with 3rds, 6ths, and
4ths; however parallel 5ths and 8ves are normally avoided. Parallel
5ths are avoided because these were a feature of music from the
Middle Ages. Parallel 8ves are avoided between two different parts
if the parts are to have distinctive independent lines.

Contrary intervals happen when two voices move in


opposite directions but maintain the same interval
(compound or otherwise). Contrary 5ths and 8ves are
avoided because they have the same sonic effect as their
parallel counterparts.

Direct 5ths and 8ves happen when two voices move in the
same direction and land on a 5th or an octave. They are only
avoided when they happen between the soprano and bass with the
soprano moving in skips.

Unequal 5ths happen when two voices with an interval of a d5


move in the same direction towards a P5 or vice versa. They
are only avoided if the bass is involved and the second 5th is a
perfect one.

Voice crossing refers to the disruption of the order of voices (SATB)


with regard to pitch.

Overlapping is easier shown than described. This is when a


voice intrudes into the melodic line of the adjacent voice. For
example, the alto line overlaps the soprano line if its current
note is higher than the previous note of the soprano.
Melodic augmented intervals must be avoided for easier intonation.

"Clopen" voicing is just another name for bad voicing. Always


remember that there are only 2 types of voicing - close and
open. Examples of bad voicing include:
1. The tenor is too far from the alto. TOO FAR=more than
an octave.
2. The tenor is too close to the bass when the bass sings
notes lower than small octave c.
3. The alto and tenor are nearer to the bass than the
soprano.

While doubled leading tones should not necessarily be avoided like


the plague, it is important to be careful in thinking about what
happens next. The correct way to progress from a doubled leading
tone is to move the two voices opposite directions.

Leaps larger than a 6th should generally be avoided in part-


writing. However if one has to write large leaps (5th or
larger), the leap must be approached and left in the direction
opposite to the leap itself.

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