Sequences (revision)

Example a): Cycle of 5ths -- OK but random!

& 44 ˙˙ ˙˙ ˙˙ ˙œ œ œ œ ˙ œ
œ œ
˙˙ ˙˙
˙
˙œ œ œ œ˙ œ œ ˙ ˙
? 44 œ ˙ ˙˙ ˙˙ œ˙ œ œ ˙ ˙
ø7 4
C maj: I IV 65 vii iii 7 vi 3 ii 7 V2
4
I6

Example b): Repeating pattern -- much clearer!

& ˙˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙˙ ˙˙ ˙
˙
˙œ œ ˙˙ ˙œ ˙ ˙œ ˙ ˙œ ˙
? œ ˙ œ ˙ œ ˙
6 ø4 6 4 4
C maj: I IV 5 vii 2 iii 5 vi 2 ii 65 V 2 I6

Mixture Chords

& ˙˙ b œ˙ œ ˙˙ b ˙œ bœ ˙˙ b b œ˙ œ
˙˙ ˙˙ ˙ ˙ ˙˙
? ˙ ˙ b ˙˙

C maj: ii ii o ø7
IV iv 7 vi b VI 7

Diatonic Borrowed Diatonic Borrowed Diatonic Borrowed

from C min from C min from C min
 Music Language 2 (MUSI20061) – Semester 2, 2017
4-Part Vocal Harmonisation Techniques

Tendency tones:
• Resolution of leading tone almost always resolves upwards by step
(unless a retardation)
• Generally don’t double root of vii – this is the leading tone
• 7ths resolve downwards by step
• Tones flattened through mixture should resolve in a particular direction
• Observe the resolution of tritons (contrary motion inwards or
outwards, depending on the inflection of the chord tones)
Second-inversion chords: as elaborations of the prevailing harmony
• Too oft used incorrectly!
o Chord "I in second inversion" in Chorales ONLY before an authentic
cadence (i.e., as a CADENTIAL 6/4, elaborating V)
o Chord V or V7 in second inversion to aid in passing ONLY – the bass
line should step melodically
o Other chords in second inversion should be studiously avoided, unless
they effect good passing in the bass…
Counterpoint rules:
• Doubled thirds – is only really permissible in VI, and in first inversion chords
• Voice crossing : don't
• Parallel 5ths/8ves : don't
• Spacing between voices – no more than an 8ve, except between tenor and bass

Melodic writing:
• Avoid awkward melodic leaps (i.e. large leaps – except in the bass, and
awkward intervals, including augmented 2nd, augmented 4th, major 7th…)
• Generally, parts should move as little as possible (except bass – which is used
to leaping)
• If a chord tone is in two adjacent chords, keep it in the same voice in both
chords
• PASSING NOTES CANNOT SAVE CONSECUTIVE 5ths, BUT MAY CAUSE
THEM!

Mixture:
• Careful of false relations – make sure the raised chord tone is inflected flat IN
THE SAME VOICE – otherwise sounds a bit jarring

Stems:
• Soprano and Tenor – UP
• Alto and Bass – DOWN

Cadences:
• In a half cadence, don’t finish on V7 – too unstable
• Choose a correct cadence – VI-I is not a cadence, neither is V-ii

Choosing harmonic progressions:

• Consider basic progressions:
o I – dom prep (ii, IV, vi) – V – I/VI OR
I – dom prep – applied dominant (V/?) – tonicised chord (?)
o V doesn’t flow nicely to IV (feels weak)
Four Part Vocal Style RULES (In no particular order)
Ø Overlapping voices: Voices must not overlap. This includes inner parts.
Ø Augmented 2nds (minor key). Avoid movement in any voice between the flat
6/sharp 7. E.g. bass iv to V6/5.
Ø Leading tone resolutions. Leading tones in chord V/vii should always resolve
up to the tonic. On rare occasions they can move down to the 5th at a cadence (if
there is no alternative).
Ø Consecutive leaps. Leaps are discouraged in all voices except bass. If they must
be used, use them very sparingly. Even in bass, there should not be a trail of
consecutive leaps greater than a 2nd/3rd. Leads to unflowing chorale.
Ø Incomplete chords. Check your chords to make sure you have included all the
notes! In general, always double check that your chords match your analysis,
common error!
Ø Using the 6/4 chord. As a passing chord or an elaboration of dominant. Not to
be used as a substitute for normal chords. Can arpeggiate a chord (God Save the
Queen/King)
Ø Parallel 5ths and 8ves. Check! Sop-alto, Sop-tenor, Sop-bass, alto-tenor, alto-
bass, tenor-bass.
Ø Doublings. Please refer to the doubling rules. Do not double the third except in
variants of chord VI. Do not double the bass note of a first inversion!
Ø Tritone leaps. Must be avoided in inner voices, and only occasionally ok in the
bass when leaping down to the 7th.
Ø Cadence selections (root pos.). Choose appropriate and strong cadences.
Inversions tend to make for weaker cadences, unless if part of a half cadence,
and only on the first chord (e.g. iv6-V).
Ø Resolutions of 7ths. Refer to lecture slides! Usually they should resolve down a
step for the next chord.
Ø Chord functions. A successful chorale will make use of the chord functions in a
progressive way. Following the tonic-anything, subdominant-subdominant or
dominant, and dominant-dominant or tonic rules will lead to a stable chorale.
Ø Accidentals. Don’t forget them! Numerous examples of students forgetting
accidentals in the key signature, especially for mixture chords.
Ø Vocal ranges. Adhere to them. Biggest risk is with tenor going too low – tenor
should stay above D in general and not be too close to the bass when in the low
register.
Ø Consecutive mixture chords. This can create ambiguity as to the key of the
exercise and cloud chord function. Be careful.
Ø Gaps between sop-alto, alto-ten. Maximum of an octave!
Ø Phrase beginnings (key). Don’t begin on vii43 or a chord that will make the
chorale sound ambiguous.
Ø Using root position chords reasonably frequently. Inversions are fantastic
but don’t use six in a row. A successful chorale will have a good balance of root
position and inversion chords to create contrast and flow. Too many root
position chords is dull, too many inversions will be unstable.