MUSC 1101 Lecture : Theory November 22.docx
5 Jul 2014
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Four voice writing: vocal ranges, always include a figured bass and roman numeral analysis, move the voices as little as possible when changing chords, resolve tendency tones (if scale degree 7 is in the outer voices it must go to scale degree 8 but if its in the inner voices it can go 7 6 5, make the alto and tenor as boring as possible, maintain the independence and musical territory for each voice, no parallel 5ths or 8ths, can"t double a tendency notes, keep adjacent voices within an octave (s a and a t, voice overlap example, when the sopranos have a g and the altos next note is a, voice crossing voices swap places, construct chords logically, must contain a root and 3rd, write the outer voices first, move the outer voices in contrary voices, try to maintain close position, when in root position, double the root.
