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Rules On Music Theory

The document outlines rules for writing cadences and melodies. For cadences, it lists 14 rules related to voice leading, chord spacing, and treatment of specific chord types and inversions. For melodies, it provides 10 rules about establishing and concluding on the tonic, using steps and leaps, contour, range, and avoiding discords. It also gives a basic 4 bar melody plan of establishing the tonic, moving up to the dominant, reaching a climax note, and descending back to the tonic.

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103 views2 pages

Rules On Music Theory

The document outlines rules for writing cadences and melodies. For cadences, it lists 14 rules related to voice leading, chord spacing, and treatment of specific chord types and inversions. For melodies, it provides 10 rules about establishing and concluding on the tonic, using steps and leaps, contour, range, and avoiding discords. It also gives a basic 4 bar melody plan of establishing the tonic, moving up to the dominant, reaching a climax note, and descending back to the tonic.

Uploaded by

Dolphing
Copyright
© © All Rights Reserved
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
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Rules on Theory

Writing Cadences:

 Rule 1: In all cadences, avoid overlapping of parts between


two successive chords
 Rule 2: In all cadences, avoid consecutive fifths and
eighths between the same two voices when writing any
chord progression
 Rule 3: In all cadences, no more than an octave between
any two voices that are next to each other except for bass
and tenor
 Rule 4: In all cadences, open to close or open
 Rule 5: In all cadences, make it physically possible to play,
no more than a tenth apart
 Rule 6: In all cadences, make bass as close to each other
and as low as possible
 Rule 7: In all first inversion chords, double either the 4 or
6, not the bass note
 Rule 8: In all second inversion chords, always double the
bass note
 Rule 9: In I/Ic/IV/VI to V and V to I, make sure either the
leading note leads to tonic or the tonic falls on to the
leading and do not forget to raise the leading note in a
minor chord
 Rule 10: In Ic to V, let 6 fall onto 5 and 4 fall on to 3 while
the bass remains unmoved
 Rule 11: When using Ic cadentially, it should never be
approached by leap from the inversion of any chord
except Ib
 Rule 12: When using Ic in passing, it is used as a bridge
between IV and IVb or IIb and VI
 Rule 13: When Vc is used in passing, it is used as a bridge
between I and Ib
 Rule 14: Raise the leading note in a minor dominant triad
 Rule 15: When writing pianostyle cadences, the right hand
chord must not exceed an octave in span from top to
bottom so that it fits comfortably under the fingers
 Rule 16: In a situation in which triple tonic is required, 5
ths can be omitted. A 3rd can never be omitted

Writing Melodies:

 Rule 1: The first strong beat should be the tonic, or a note


of the tonic triad. This helps to establish the key
 Rule 2: The last note should be the tonic, or occasionally
the third note of the tonic triad
 Rule 3: If there is an anacrusis, make it a note of the
dominant or tonic triad
 Rule 4: A good melody should consist a mixture of steps
and leaps, rather than jagged jumps or an excess of broken
chords
 Rule 5: After a big leap, the melody should return to a note
within the compass of the leap
 Rule 6: Give the melody a good shape or curve
 Rule 7: Plan the climax point by working up to the top of
the range about three quarters through
 Rule 8: Do not exceed the range of an octave by more than
one or two notes
 Rule 9: Sing the melody as you compose it, make sure it
flows well
 Rule 10: Avoid using discords in the melody, (diminished
and augmented intervals, major sevenths)

Basic melody plan:


Establish the tonic in bars 1-2, and then move up in bar 3
towards the dominant or a note of the dominant chord,
which is reached in bar 4. After that, move towards the note
of climax, and then gently descend to the starting point.

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