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Music Theory Study Guide

This document is a study guide for part-writing that includes information on vocal ranges, doubling, incomplete chords, spacing, types of motion, and melodic motion. It provides guidelines for doubling bass in root position chords and soprano in first inversion chords. It explains that chords are incomplete if missing a root, third, or fifth, and outlines rules for writing incomplete chords. The study guide also covers tendencies tones resolving correctly, avoiding parallel intervals, and spacing between voices.

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Lisa Verchereau
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315 views2 pages

Music Theory Study Guide

This document is a study guide for part-writing that includes information on vocal ranges, doubling, incomplete chords, spacing, types of motion, and melodic motion. It provides guidelines for doubling bass in root position chords and soprano in first inversion chords. It explains that chords are incomplete if missing a root, third, or fifth, and outlines rules for writing incomplete chords. The study guide also covers tendencies tones resolving correctly, avoiding parallel intervals, and spacing between voices.

Uploaded by

Lisa Verchereau
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
  • Study Guide for Part-Writing: Provides an overview of basic part-writing techniques including vocal ranges and placement, doubling, incomplete chords, and spacing.
  • Types of Motion: Details various types of melodic motion in music theory, including parallel, similar, contrary, and oblique motions.

Name _________________________________________

Homework for the vacation is to study this guide for the test when we get back.

STUDY GUIDE FOR PART-WRITING Vocal ranges & placement

Soprano and alto in the treble clef/soprano stems up, alto stems down Tenor and bass in the bass clef/ tenor stems up, bass stems down

Doubling
In a root position chord double the bass (which is the root) In a first inversion chord double the soprano In a second inversion chord double the bass (which is the 5th) Do not double any active tones/tendency tones (leading tones and chordal sevenths)

Incomplete Chords
Chords are complete when they contain at least one tone of each chord element (root, 3rd, 5th,) Chords are incomplete when one of those elements is missing. It is sometimes necessary to write incomplete chords to avoid problems with voice-leading. 1. Do not write incomplete chords in inversions 2. Generally speaking double (or triple) the root and omit the fifth of the chord 3. Never omit the 3rd of a chord!

Spacing
Do not allow more than one octave between two adjacent voices Between bass and tenor the distance may be as much as two octaves Open: a chord element could be placed between any two of the upper three voices Close: no chord elements could be placed between any of the upper three voices (No more than an octave between Soprano and Tenor) Try to make the spacing of each chord as even as possible.

Types of Motion

Name _________________________________________ Parallel Motion -Both voices move in the same direction by exactly the same interval. Similar Motion -Both voices move in the same direction, but by different intervals. Contrary Motion -The voices move by any interval in the opposite direction. Oblique Motion -One voice moves in any direction by any interval while the other remains on the same pitch, not moving at all.

Melodic Motion
Conjunct Motion = step wise motion (1/2 or whole steps in either direction) Disjunct Motion = leaping/skipping (any interval bigger than a 2nd)

1. Allow all tendency tones to resolve correctly.


Any pitch that is altered usually resolves in the direction of its alteration. The leading tone in a V or viio chord resolves UP by step to the tonic pitch when going to I or vi. The 7th of any chord resolves DOWN by step.

2. Do not create parallel octaves, fifths, or Primes (by parallel or contrary motion). 3. If it is possible to keep a note, do so, if not, move each part by the smallest possible interval. Avoid leaping by large, or difficult intervals especially augmented intervals. 4. No more than an octave between SA and AT. 5. No crossed voicing or overlapping of voices. 6. When there is a choice of which chord member to double, double the bass when the chord is in root position or second inversion. Double the soprano when in first inversion. 7. Never omit any note of a triad or seventh chord except the fifth and only omit the fifth when you must do so in order to follow rule 1.

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