Classical Theory III: Composing Monotriadic Lines Rules

S1: primary upper

The final pitch in the basic step motion must be a tonic.

S2: primary upper

The first pitch in the basic step motion must be a tonic-triad member a third, fifth, or octave above the final note.

S3: primary upper

These two pitches must be connected by a descending diatonic step motion.

basic step motion

continuous, unidirectional passing motion that progresses step by step along the scale from the first note to the final note.

S Rules

rules of background structure

S1: bass

The final pitch of the basic arpeggiation must be a tonic.

S2: bass

The first pitch of the basic arpeggiation must be a tonic pitch, normally not lower than the last note.

S3: bass

The middle pitch of the basic arpeggiation must lie a fifth above or a fourth below the final note, normally not more than an octave from the first note.

bass line

moves from tonic to fifth degree of the scale and returns to the tonic degree

primary upper line

starts on a tonic triad pitch and then descends by step along the scale until it reaches the tonic scale degree that lies below it in the same register.

generic line

begins and ends on tonic-triad pitches that lie in the same register

S1: generic line

The last pitch must be a tonic-triad member.

S2: generic line

The first pitch must be a tonic-triad member, normally no more than an octave from the last pitch.

E Rules

rules of elaboration

E1 (Repetition)

(Addition of Tonic Triad Pitches) Any tonic-triad pitch may be repeated, but not the pitch generated by S1.

The new note generated by E1 must...

Immediately follow the original note

E3 (Insertion)

Any tonic-triad pitch may be inserted prior to the first pitch of basic step motion in primary upper lines or between consecutive notes in any type of line, provided that no dissonant leap or leap larger than an octave occurs.

E3: bass stipulation

Insertion of scale degree 3 immediately prior to the final tonic should be avoided.

Since E3 only generates one new note, if you want to insert multiple pitches of the tonic triad between two consecutive notes, they must...

be generated by successive applications of the same rule

E2 (neighbor motion)

A neighbor note may be inserted between any two consecutive notes with the same pitch.

E4 (step motion)

Any two consecutive notes forming a leap may be joined by step motion.

G Rules

Global Rules

G1

All of the pitches in a line should lie within a single register.

G2 (Cadence of Primary Lines)

The last two notes of a primary upper line must form a step.

G3 (Step Motion in Minor Keys)

Lines in minor keys should conform to the melodic minor-scale in the use of the sixth and seventh scale degrees, The lower neighbor of the tonic pitch is the raised seventh degree.

When ascending 5 to 8,

Use raised 6 ad raised 7.

When ascending 5 to 7 (either diatonic or raised),

Use raised 6

When descending 8 to 5,

Use diatonic 7 and diatonic 6

When descending 7 to 5,

Use raised 6.