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    Tonal Harmony CHP 5&6

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    Damia razali
    The document provides guidelines for writing melodic lines and SATB vocal music, including rules for rhythm, harmony, contour, leaps, and tendency tones. It also discusses techniques for notating chords, voicing structures, avoiding crossed voices, and writing root position parts with roots a third, fourth, fifth, sixth, seventh, or octave apart. Finally, it mentions instrument ranges and transpositions and provides a procedure for writing for mixed ensembles.

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    © All Rights Reserved
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    Tonal Harmony CHP 5&6

    Uploaded by

    Damia razali
    38 views17 pages
    The document provides guidelines for writing melodic lines and SATB vocal music, including rules for rhythm, harmony, contour, leaps, and tendency tones. It also discusses techniques for notating chords, voicing structures, avoiding crossed voices, and writing root position parts with roots a third, fourth, fifth, sixth, seventh, or octave apart. Finally, it mentions instrument ranges and transpositions and provides a procedure for writing for mixed ensembles.

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    Tonal Harmony CHp 5&6

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    The document provides guidelines for writing melodic lines and SATB vocal music, including rules for rhythm, harmony, contour, leaps, and tendency tones. It also discusses techniques for notating chords, voicing structures, avoiding crossed voices, and writing root position parts with roots a third, fourth, fifth, sixth, seventh, or octave apart. Finally, it mentions instrument ranges and transpositions and provides a procedure for writing for mixed ensembles.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    38 views17 pages

    Tonal Harmony CHP 5&6

    Uploaded by

    Damia razali
    The document provides guidelines for writing melodic lines and SATB vocal music, including rules for rhythm, harmony, contour, leaps, and tendency tones. It also discusses techniques for notating chords, voicing structures, avoiding crossed voices, and writing root position parts with roots a third, fourth, fifth, sixth, seventh, or octave apart. Finally, it mentions instrument ranges and transpositions and provides a procedure for writing for mixed ensembles.

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    © All Rights Reserved
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    You are on page 1of 17

    Melodic Line

    SATB has to follow this kind


    of rules to get a good melodic
    1.Rhythm
    • Simple
    • Duration being equal to or longer than the duration of the
    beat
    2.Harmony
    • only chord tone

    3.Contour
    • melody should stepwise
    • interesting but clear and simple with a single focal point
    4.Leaps
    • Not augmented,7ths, more than octave
    • Step back in opposite direction
    • Outline a triad

    5.Tendency Tones
    • In tonal music 7th has a strong tendency to move up 1st
    • othes tendency tone is 4th moves down to 3rd
    Notating Chords
    • In full score all or most of the parts are
    notated on their own individual staves
    • The position of the must correct when
    prepare a full score
    VOICING
    Open Structure: The range is an octave or more
    between soprano and tenor
    Close Structure: The range is less than an octave
    between soprano and tenor

    Crossed Voices: Do not allow any part to cross above


    the soprano or below the bass because the essential
    soprano/bass counterpoint might become unclear(eg.).
    (the alto and tenor lines may cross brielfy if there is a
    musical reason to do so.)
    ROOT POSITION PART
    WRITING
    ROOT
    ROOT
    POSITION
    POSITION
    PART
    PART
    WRITING
    WRITING
    WITH
    WITH
    ROOTS
    REPEATED
    A 4TH(5TH)
    ROOTS.
    APART.
    Root Position Part Writing With Roots a 3rd(6th) apart.

    Two common tones & stepwise.

    Four-part textures: common tone remains stationary

    Remaining move by steps


    *DO NOT NEGLECT 5th NOTE
    of the second chord!

    Three-part textures: *Because cannot determine the


    chord accurately and might
    assume that it has progressed
    only to an inverted form of the
    same triad.
    Try and determine the chords below

    FAC AC… … FAC CE… …


    FAC? / ACE? CEG? / ACE?
    Root Position Part Writing With Roots a
    2nd(7th) apart.

    Do not have common chord tone!


    Four part texture:

    First chord double root Resolve

    moving contrary to the bass.


    *Moving the upper voices
    *(soprano, alto, tenor) contrary to the bass.

    Make sure NO PARALLEL 5th appears!!


    Writing with doubling the 3rd note.

    Make sure NO PARALLEL 5th appears!!


    Three-part Textures:

    complete triad + 2roots + 1 3rd

    Resolve 7th to root in V - vi(VI)

    7th= inner voice in major key


    Instrument Ranges and Transpositions:

    *Appendix A
    *- suggestions for many instrument range ( written range, sounding range)
    *- other instruments do not read music at a concert pitch, either higher or lower

    * One procedure to write for an ensemble:


    1. Notate the ranges at the top
    2. compose the exercise in the form of
    reduced score on as few staves as
    practicable.
    * keep and eye on the ranges
    3. Provide enough copies for players
    which all the instrumental parts on
    separate sheets are using the right
    composition.
    EXERCISE

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