Summary of Part-Writing Practices

Stylistic Practices Stylistic practices refer to special part-writing situations that occur often.

Triads 1. Root Position. When two roots lie a P5th or P4th apart, keep the common tone and move the remaining two upper voices stepwise to the chord tones of the next triad. Double the root in these triads.

2. Root Position. When two roots lie a P5th or P4th apart, and especially when the soprano voice descends one step (such as from scale steps 2 to 1), it is sometimes not practical to keep the common tone. Move all three upper voices in similar motion to the nearest chord tone. Double the root in these triads.

3. Root Position. When roots lie a third apart, keep both common tones and move the remaining voice stepwise. Double the root in these triads.

4. Root Position. When roots lie a second apart, move the three upper voices in con-trary motion to the bass, and make sure that each voice moves to the nearest chord tone of the next chord. Generally double the root in these triads, but in the progres-sion V to vi or VI, double the third factor of the vi or VI triad.

5. Any Position—Repeated Chords. Maintain proper doubling, and avoid unstylistic departures, but otherwise, an exchange of chord factors among voices is acceptable. Change of position is common.

6. First Inversion. There are no established voice-leading patterns. Double any triad factor that facilitates smooth voice leading. Favored notes are the soprano (most common) and bass. Never double leading tone. Avoid unstylistic departures.

7. Diminished First-Inversion Triads (viiøfl and iiøfl). No established voice-leading pattern, but double bass note, avoid skips of a tritone, move all voices with as much stepwise movement as possible.

8. Second Inversion. No established voice-leading pattern, but double bass note and use only the four types of @ chords described in volume 1, chapter 9.

Dominant 7th Chords

10. Resolve the 7th of the V‡ chord down one scale degree in the same voice. In the few instances where the resolution tone is not present, either keep the 7th as a com-mon tone or move it by the smallest melodic interval possible.

11. All four factors of the V‡ are usually present. But, for smoothness of voice leading, the fifth may be omitted and the root doubled.

Leading-Tone 7th Chords

12. Resolve the seventh of the viiø‡ or vii؇ (and inversions) one diatonic scale degree down to the tonic.

13. Resolve the root of the viiø‡ or vii؇ upward to the tonic note.

Nondominant 7th Chords

14. Resolve the 7th of nondominant 7th chords one diatonic scale degree down to the 3rd of the next chord (in circle progressions). Otherwise resolve the 7th down one step if its resolution is a part of the following chord.

16. Double the bass note (3rd of chord) whenever possible. Move upper voices in con-trary motion with the bass, and avoid chromatic voice leading in leaving the Nfl. When Nfl proceeds to i@ , watch out for parallel 5ths.

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Summary of Part-Writing Practices (continued)

Unstylistic Departures

The following lists include stylistic practices that: (1) should never be broken, and (2) may occasionally be broken.

Never Broken (Inviolate)

These apply to all voice-leading situations including stylistic practices and override all other considerations.1. Always avoid parallel P8ths, P5ths, and P1s (unisons).2. Never double the leading tone of the scale (scale degree ̂7). 3. Always keep all four voices within their range. 4. Always avoid the melodic A2nd and A4th.

Occasionally Broken

Under most voice-leading conditions these should be followed but may be broken occasionally for expressive voice leading or other musical considerations.5. Keep voices in order: soprano, alto, tenor, bass.6. Spacing between adjacent three upper voices should not exceed an octave. 7. Overlapping should be avoided.8. Avoid hidden parallels.9. Parallel unequal fifths are allowed occasionally, but use sparingly.10. Diminished and augmented melodic skips: d5th and d4th are allowed sometimes,

but A2nd and A4th, never.11. When the leading tone is in an outer voice (soprano or bass), it should progress

upward to the tonic.

Summary of Triad Doubling Practices

Major Keys: I ii iii IV V vi viiøfl Minor Keys: i iiøfl III iv V VI viiøfl

Choice: 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2

Root Pos.: R – R – – – R – R – R – R – R – R 3 3 R – – 1st Inv.: S B S B B – S B S B S B S B *S R S 3 3 R B – 2nd Inv.: B – – – – – – – – – B – B – B – – – – – – –

* Never double the 3rd of the V triad (the leading tone).

Legend: 1 = First Choice2 = Second ChoiceR = RootS = Soprano3 = 3rd of Triad– = Either no preferred practice, or does not apply.

As a rule of thumb (may be broken occasionally for better melodic line):

Double Position and Chord TypeRoot Root position major and minor triads.Soprano or Bass First inversion major and minor triads.Bass Note First inversion diminished triads (viiøfl and iiøfl).Bass Note Second inversion major and minor triads.

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