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Questions and Answers
What happens when the bass G rises above the tenor F in the previous chord in Ex. 19 (b)?
What happens when the bass G rises above the tenor F in the previous chord in Ex. 19 (b)?
- The alto doubles the bass.
- The tenor leaps an augmented 4th. (correct)
- The tenor falls below the bass.
- The soprano moves in contrary motion to the alto.
Why is overlapping between two positions of the same chord acceptable?
Why is overlapping between two positions of the same chord acceptable?
- Because there is no harm in it. (correct)
- Because it is a common practice in chord progressions.
- Because it endangers the identity of the parts.
- Because it creates a sense of tension.
What should the soprano and tenor do in contrary motion to the bass when using IV-V or V-IV?
What should the soprano and tenor do in contrary motion to the bass when using IV-V or V-IV?
- Leap an augmented 4th.
- Move to the nearest available note. (correct)
- Move in parallel motion to the bass.
- Double the bass.
Why is V-IV not musically satisfactory in most cases?
Why is V-IV not musically satisfactory in most cases?
What should be done with the 3rd of VI when using V-VI?
What should be done with the 3rd of VI when using V-VI?
What is the exception to the rule of doubling the 3rd of VI in VI-V?
What is the exception to the rule of doubling the 3rd of VI in VI-V?
What should be done when a chord is repeated?
What should be done when a chord is repeated?
What is a general rule for beginning a chord progression?
What is a general rule for beginning a chord progression?
What should be avoided in harmonic progressions?
What should be avoided in harmonic progressions?
What is the condition for a leap of an octave to be considered good?
What is the condition for a leap of an octave to be considered good?
What should the leading-note do in the progressions V-I and V-VI?
What should the leading-note do in the progressions V-I and V-VI?
What is not allowed in harmonic progressions?
What is not allowed in harmonic progressions?
What is the fault called when two parts move in parallel octaves or 5ths?
What is the fault called when two parts move in parallel octaves or 5ths?
What should be done if the same note occurs in two consecutive chords?
What should be done if the same note occurs in two consecutive chords?
What is the general rule for part movement in harmonic progressions?
What is the general rule for part movement in harmonic progressions?
What is the maximum interval allowed between next-door parts in tonal harmony?
What is the maximum interval allowed between next-door parts in tonal harmony?
What is not allowed between consecutive chords?
What is not allowed between consecutive chords?
What is the general rule for the spacing of parts in tonal harmony?
What is the general rule for the spacing of parts in tonal harmony?
What is the effect of placing the 5th of the chord in the Soprano and the chord lying too low?
What is the effect of placing the 5th of the chord in the Soprano and the chord lying too low?
Why should parts not cross in tonal harmony?
Why should parts not cross in tonal harmony?
What is the rule for adding Alto and Tenor to a given Bass in tonal harmony?
What is the rule for adding Alto and Tenor to a given Bass in tonal harmony?
What is the rule for a part leaping a diminished 5th in tonal harmony?
What is the rule for a part leaping a diminished 5th in tonal harmony?
What is the rule for a part leaping an augmented interval in tonal harmony?
What is the rule for a part leaping an augmented interval in tonal harmony?
What is the purpose of doubling the root in tonal harmony?
What is the purpose of doubling the root in tonal harmony?
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Study Notes
Tonal Harmony
- Spacing of parts is crucial: next-door parts should not be more than an octave apart, except for Tenor (T) and Bass (B).
- Examine part spacing:
- Roughly equidistant parts (a)
- Soprano (S), Alto (A), and T close together, with a larger gap between T and B (b)
- Farther apart S and B, the more widespread the spacing becomes (c)
- Note the largest gap between A and T (a 6th), while T and B are only a 3rd apart (d)
- Parts should not cross: S always has the highest note, A the next highest, T the next, and B the lowest
Laws of Melodic Progression
- Memorize the following points:
- No part may leap an augmented interval (2nd, 4th, or 5th)
- A part may leap a diminished 5th if followed by a note within the interval
- Avoid leaps of diminished 4th and 7th for now
- The leap of an octave is good if preceded and followed by notes within its compass
- The leap of a 6th should be avoided, but if used, it should be followed by a note within its compass
- The leading-note should rise to the tonic in V-I and V-VI progressions
- No part may leap a 7th, 9th, or larger interval, nor with one note intervening
Laws of Harmonic Progression
- Memorize the following points:
- No two parts may move in parallel perfect 5ths or octaves in consecutive chords
- Avoid consecutive octaves or 5ths in contrary motion, as well as progressions from unison to octave and octave to unison
- S and B may not approach an octave or 5th in similar motion with a leap in the S
- If the same note occurs in two consecutive chords, it should ideally be kept in the same part
- In passing from one chord to another, each part should normally move to the nearest available note
- Parts may not overlap between consecutive chords
- In using IV-V or V-IV, let S, A, and T move in contrary motion to the B, each part moving to the nearest available note
- In using V-VI, the 3rd of VI should be doubled, being approached by steps in contrary motion
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