Music theory master review
Basics of Solfège
History
Started in the 11th century in Italy.
Guido of Arezzo
Benedictine monk and music theorist.
Wrote the hymn "Ut Queant Laxis."
First used in the hymn “Ut Queant Laxis.”
Guido used the first syllables of each line of this Latin hymn to represent the notes of the hexachord, a six-note scale commonly used at the time.
The syllables were: Ut, Re, Mi, Fa, Sol, and La.
Later Additions/Evolution
The syllable "Si" was added later to complete the diatonic scale.
Over time, "Ut" evolved into "Do," and the system became widely used for teaching music.
Purpose of Solfège
Guido's system was designed to help singers learn and memorize melodies more easily, especially those who couldn't read music notation.
Moving Do
Major
do re mi fa so la ti do
do is tonic
Minor
la ti do re mi fa so la
la is tonic
la based
Harmonic
la ti do re mi fa si la
si is raised
Melodic
la si so fi fa mi re do ti la
fi si raised going up diatonic down
Scales
Major
Flats
B E A D G C F
Scale order
F -> 1
Bb -> 2
Eb -> 3
Ab -> 4
Db -> 5
Gb -> 6
Finding the key
Bb has 2 flats, Bb and Eb, the second to last in the key signature is the key that we're in.
Sharps
F C G D A E B
Scale order
G -> 1
D -> 2
A -> 3
E -> 4
B -> 5
Finding the key
G has 1 #, F#, abcdefg, the key is g, one letter before G is F, in the order of sharps F is the first (fat) fcgdaeb
If you have 1#, F#, abcdefg, one letter after F is G, therefore you are in the key of G.
Minor Relative
La based.
Found from the la (6th) of the scale or going back two letter names.
In CM, la is a, therefore CM and am have the same key.
Relative Chart
Parallel
Same tonic as major.
CM and cm.
Different keys, cm is the relative to Eb major but is the parallel to CM.
Parallel Chart
F -> fm
F -> dm
Bb -> gm
Eb -> cm
Ab -> fm
Db -> bbm
Gb -> ebm
B -> g#m
E -> c#m
A -> f#m
D -> bm
G -> em
C -> am
Bb -> bbm
Eb -> ebm
Ab ->
Db ->
Gb ->
B -> bm
E -> em
A -> am
D -> dm
G -> gm
C -> cm
Pentatonic Scales
Major
La
So
Mi
Re
Do
Minor
So
Mi
Re
Do
La
Whole Tone Scale
It's whole steps.
Known as dream sequence scale.
Chromatic
All notes in western tonality, no exceptions.
Tempo, Scale Degrees, and Time Signature
Tempo Chart
Verry slow
Grave
Lento
Largehtto
20-66 bpm
Slow
Lente
Adagio
40-72 bpm
moderatly slow
Andante
Andantino
72-83 bpm
Moderate
Modereato
108-120 bpm
Fast
Allegretto
Allegro
1008-156 bpm
Very fast
vivace
presto
presstisimo
156+ bpm
Scale Degrees
Major: I ii iii IV V vi vii° I
Minor: i ii° III iv V VI vii° i
Major/Minor Progression Chart
Major → iii —> VI—>ii / IV —> V / viiº —→ I
Minor → III —> vi—>iiº / iv —> V / viiº —→ i
Time Signature
Top number: how many beats per measure.
Bottom number: what gets the beat.
Example: 4/4 - 4 beats to a measure, quarter note gets the beat.
Basic Key to Time
Simple
Simple quadruple (2/4)
Simple triple (3/4)
Simple duple (2/4)
Compound
Compound quadruple (12/8)
Compound triple (9/8)
Compound duple (6/8)
Dynamics
Dynamics
ppp
pp
p
mp
mf
f
ff
fff
Dynamic Markings
Fp
sfz - sforzando (or fz - forzando)
A sudden strong emphasis on a singular note or chord.
Sfp - sforzando piano
Sudden accent followed by a soft dynamic.
Sub p - subito piano
Sub f - subito forte
Crescendo
Decrescendo
Articulation and Motion
Articulation
Tenuto (—)
100% / full value / touching
Staccato (.)
50% note value
Legato
75% / aka long lift
Marcato (^)
Accented staccato
Accent (>)
Firmer articulation / more tongue.
Motion
Conjunct
Step-wise motions
Disjunct
Lots of skips
Intervals
Intervals
The space between two notes.
Interval Inversions Chart
m2 <-> M7
M2 <-> m7
m3 <-> M6
M3 <-> m6
P4 <-> P5
Tritone <-> Tritone
Diminished
One semitone smaller than minor or perfect interval.
Example: Lower a m3rd by one semitone = diminished 3rd (2 semitones) from C to Eb.
Augmented
One semitone (half step) larger than the perfect or major interval.
Example: Raise a M3 by one semitone = Aug 3rd (5 semitones apart) from C to E#.
Compound Interval
Adds onto normal interval.
Anything above an octave.
Examples: F - (g a b c d e f) -> G
Chord Quality
Triads
1, 3, 5
3rd scale degree determines major or minor.
5th determines dim/aug.
Inversion -> (664)
Seventh Chords
Construction
1, 3, 5, 7
Types
Major Major
Major triad with a Major 7.
Major minor
Major triad with a minor 7.
minor minor
minor triad with a minor 7.
Half dim
Full dim
Inversions
765-4342
Chordal 7th
fa resolves to mi (down)
ti resolves to do (up)
Melodic Motion
Types
Contrary
Soprano goes one way, bass goes opposite.
Creates a sense of balance and independence between voices. It often occurs between the soprano and bass, providing variety and keeping the harmony interesting.
For example: If the soprano is moving up, the bass can move down.
This kind of motion helps to maintain clarity between the upper and lower parts of the texture.
Example: Soprano goes from C to D (upward), and the bass moves from G to F (downward).
Oblique
Oblique motion is often used when one voice stays on the same note while others move. It is frequently employed in soprano and alto or alto and tenor parts to create a sense of stability and to support the harmonic progression.
Example: The soprano holds a note (e.g., C), while the bass moves from G to F. The tenor or alto could also move to create harmonic movement.
Note: Avoid too much oblique motion with the soprano or tenor holding long notes while the bass or alto moves, as this can lead to a less engaging texture.
Parallel
Stays same interval and moves in same direction.
In SATB writing, parallel motion is typically used for harmonic coherence, but it should be used cautiously to avoid excessively rigid or overly predictable movement.
If the soprano and alto voices move together in parallel motion, they may both move in the same direction and by the same interval.
Parallel fifths or octaves between the bass and soprano should generally be avoided, as they weaken the harmonic independence.
Example: If the soprano moves from C to D, the alto might move from E to F (same interval of a second, in the same direction).
Similar
Similar motion occurs when two voices move in the same direction but by different intervals. This creates a sense of continuity without rigid parallelism.
This is often used in situations where you want both voices to move in the same direction (for example, both going up or both going down) but avoid moving by the same interval, which would create parallel motion.
Example: If the soprano moves up from C to D (a whole step), the alto might move from E to F (also a whole step, but a different interval from the soprano), both parts moving upward.
Cadences
Conclusive (ends on Tonic)
PAC
1 5 1
I V I
Tonic in soprano
IAC
1 5 1
I V I
Tonic not in soprano
Plagal
Pray-gle AMEN 🙏 😇
1 4 1
I IV I
Fa Mi tendency tone commonly found in church music
Conclusive bc it ends on 1
Inconclusive (does not end on Do)
Deceptive
5 to 6
I V Vi
Adds moodiness to peace not at the beginning, normally middle or end, need time to set up tonic so it comes out of nowhere (DEC) Do So La
Half
Ends on 5.
Wants to go to Do.
Non-Chord/Embellishment Tones
Non-Chord Tones
Passing Tone
A passing tone is a note that connects two chord tones by stepwise motion
Think pass through exercise
Neighbor Tone
Note that is one step away from a chord tone and returns to that chord tone.
CM chord, a neighbor tone may be D or F moving away from the 3rd prior to returning to it.
Upper is above the note, lower is below the note by one whole or half step.
Appoggiatura (App)
Non-chord tone that is approached by a leap and resolved by a step to a chord tone.
In the key of CM, an app might be an A (a leap from G) resolved by a step to G.
Escape Tone (ET)
Approached by step from a chord tone and resolved by leap in the opposite direction.
In CM, the note D might be approached by a step from E, and then it might leap to C.
Anticipation (ANT)
Occurs when a note is played before it is officially part of the next chord.
If the chord changes from CM to FM, the note F might be played early before the F major chord is played.
Suspension (SUS)
A suspension is a note that is held over from the previous chord and resolved down by step to a chord tone in the next chord.
In a CM chord moving to a GM chord, a suspension might be made by the note G being held over from CM and resolving down to the F in the GM chord.
Retardation
Similar to suspension, but it resolves upward by step rather than downward.
In a CM chord, the G may resolve up, after being held over, to the A in FM.
Textures
Textures
Monophonic
Single melodic line without any accompanying harmony or chords.
Homophonic/Homophony
Main melody accompanied by chords or harmonic support. The melody is the focus, and the accompanying parts move in the same rhythm as the melody.
Same rhythm - chorale.
Polyphonic/Polyphony
Multiple parts of equal importance.
Multiple independent melodies are happening at the same time, each of equal importance. This is also called counterpoint.
A fugue where different voices enter at different times with independent melodic lines.
Timbre and Pedal Point
Timbre
Instruments
Color
Tone quality
Amount or strength of overtones
Oboe has a lot, flute does not
Resonance
Instrument design
Conical vs. cylindrical brass
Wooden piccolo vs. resin vs. metal piccolo
Voice
Determined by vocal technique, vocal tract shape, and the individual singers vocal chords along with air/breath control or strength
Pedal Point
It's literally just a drone
Think bagpipes
ii Chords
Major
The ii6 chord in a major key is a versatile chord that functions primarily as a pre-dominant harmony, typically resolving to V or I. It provides smooth voice leading and can be used to build harmonic tension in preparation for a resolution to the dominant or tonic chords. Its role is often subtle but important in creating smooth harmonic progressions.
Function and Voice Leading of the ii6 Chord
The ii6 chord functions as a pre-dominant chord in classical voice leading and provides smooth harmonic transitions. It is typically used as a passing chord between the tonic (I) and the dominant (V) chords, allowing for smoother voice leading and a connection between these harmonically important chords.
Common Usage of ii6 in a Major Key
ii6 -> V
The ii6 chord is often followed by the V (dominant) chord. The smooth motion of the ii6 chord to V creates a gentle pre-dominant function. The ii6 can resolve to the V chord because the root of the ii6 (F) moves to the third of the V (D), and the third of the ii6 (A) moves to the fifth of the V (G)
Example in C major: ii6 (D minor in first inversion) -> V (G major)
ii6 -> I
In some cases, the ii6 chord can also resolve to the I (tonic) chord. The ii6 serves as a passing chord or a pre-cadential chord, creating a smooth progression into the tonic chord.
Example in C major: ii6 (D minor in first inversion) -> I (C major).
Voice Leading Considerations
The ii6 chord is often used to maintain smooth voice leading:
The bass of the ii6 chord (F) is typically a step away from the dominant V (G), making it easy to transition.
The soprano voice, which is typically the third of the ii6 chord (A), moves smoothly to the fifth of the dominant chord (G) or the third of the tonic chord (E).
Example Progressions
ii6 -> V
In C major: D minor (ii6) -> G major (V) -> C major (I)
Voice Leading: F (bass) moves to G (bass), A (soprano) moves to G (soprano), and D (alto) moves to C (alto).
ii6 -> I
In C major: D minor (ii6) -> C major (I)
Voice Leading: F (bass) moves to C (bass), A (soprano) moves to C (soprano), and D (alto) moves to E (alto).
ii6 as a Passing Chord
The ii6 can also be used in more complex harmonic progressions as a passing chord between other chords. For example, it can precede a V or I to create smoother transitions or provide more harmonic variety.
Example: ii6 -> IV -> V -> I (In C major: D minor -> F major -> G major -> C major).
ii° Chords
The ii° chord in a minor key is a bit different from its major-key counterpart in several ways. While some basic principles apply, there are notable distinctions in its structure, function, and use.
Structure of ii° in a Minor Key
In a minor key, the ii° chord is a diminished triad built on the second scale degree.
The notes of the ii° chord in a minor key are:
ii° = diminished triad built on the second degree of the scale
Function of ii° in a Minor Key
The ii° chord in a minor key has a strong dominant function due to its diminished nature, especially when it's followed by the V chord (dominant).
It acts as a pre-dominant harmony, creating tension that naturally resolves to the V (dominant) or V7 (dominant seventh) chord.
Voice Leading of ii°
The diminished ii° chord often resolves to the V chord because the diminished 5th of the ii° chord (in the case of B°: B-D-F) creates a strong tendency to resolve to the dominant (V) chord, which typically contains the notes B (root), D (third), and F# (fifth). The F in the ii° chord rises by a half-step to F# in the dominant chord.
Common Usage of ii° in a Minor Key
ii° -> V
This is the most common and effective use of the ii° chord in a minor key. The ii° creates tension and naturally resolves to the dominant (V) or V7 chord, helping to build harmonic momentum toward the tonic.
Example in A minor: ii° (B diminished) -> V (E major) or V7 (E7)
Voice leading: B (root) moves to E (root), D (minor third) moves to G# (major third), and F (diminished fifth) resolves to F# (major fifth).
ii° -> V7
The ii° chord can also lead to a dominant seventh (V7) chord. The diminished 5th in the ii° (F) resolves to the dominant seventh (F#), making this progression sound even more resolved.
Example in A minor: ii° (B diminished) -> V7 (E7)
Voice leading: B moves to E, D moves to G#, and F moves to F#.
ii° -> i
In some cases, the ii° can resolve directly to the tonic i chord, particularly if the V chord is implied or if the harmonic progression is less conventional. However, this is less common than resolving to V.
Example in A minor: ii° (B diminished) -> i (A minor).
Voice Leading Considerations
When writing the ii° chord, keep in mind that it is a diminished triad, and the diminished fifth (F in the case of B°) tends to resolve up by a half-step to the fifth of the dominant (F#), creating a strong pull toward the V or V7 chord.
The root of the ii° (B in B°) often moves to the root of the dominant (E in E major), and the third of the ii° (D) typically moves to the third of the dominant (G# in E major or E7).
Example Progressions
ii° -> V (or V7)
In A minor: B diminished -> E major (or E7)
Voice leading: B to E, D to G#, and F to F#.
ii° -> i
In A minor: B diminished -> A minor.
Voice leading: B to A, D to C, and F to A (although this progression can sound somewhat unusual or incomplete).
ii° -> V7
In A minor: B diminished -> E7
Voice leading: B to E, D to G#, and F to F#.
ii° as a Passing Chord
The ii° can also be used as a passing chord in more complex progressions. For example, it may precede or follow other pre-dominant chords like iv (minor subdominant), or it could be used as part of a more extended harmonic progression.
Example: ii° -> iv -> V -> i (In A minor: B diminished -> D minor -> E major -> A minor).
ii Chords: Major vs. Minor
Differences Between ii° in Major vs. Minor
In major keys, the ii° chord (diminished ii) is less common and is often replaced by the ii6 chord (the second chord in first inversion, a minor chord). The ii° chord in major keys can create an unresolved or unstable harmonic feel.
In minor keys, the ii° chord is more commonly used because it functions very effectively as a pre-dominant chord, leading naturally to the dominant (V) or dominant seventh (V7) chords. The ii° chord in a minor key is typically a diminished triad built on the second degree of the minor scale. It functions as a pre-dominant harmony and usually resolves to the V (dominant) or V7 (dominant seventh) chord, helping create a strong harmonic progression. It also resolves by smooth voice leading, with the diminished 5th (F) rising to F# in the dominant, while the other notes move stepwise toward their resolution.
vi Chords
The submediant 6 plays an important role in supporting and contrasting the tonic.
In addition to the pre-dominant iv and ii6, the submediant can function as a weaker pre-dominant.
The vi chord may also function as a “pre” pre-dominant.
The 6 chord in major provides a colorful modal change for the major I IV V sonorities.
Only in root position since its first inversion is functionally related to I the tonic harmony (2 common tones).
A common use of the root position vi chord is to connect to brighten the tonic to a pre-dominant harmony ii or IV by descending 3rd motion in the bass.
First inversion is not always what it seems.
The bass note corresponds to the strongest scale degrees of the key, so we tend to hear it as tonic harmony. There are two shared common tones.
This sonority is, therefore, explained as the result of a 6-5 or 5-6 melodic motion over a root substitute triad.
Do not use vi6 chord in melody.
Secondary Dominant Chords
A secondary dominant is a chord that temporarily functions as the dominant (V) of a chord other than the tonic. Essentially, it is a way to "borrow" the dominant function from a different key to temporarily tonicize or emphasize a chord in the original key. Secondary dominants can make a progression sound more dynamic and create tension that resolves to a non-tonic chord.
, a secondary dominant is the dominant (V) of a chord that is not the tonic. These are called V of X (where X is the target chord being tonicized).
Structure of a Secondary Dominant
A secondary dominant functions as a dominant seventh chord that resolves to a chord other than the tonic. It can be written as V of X, where X is the chord you want to emphasize or temporarily tonicize.
For example, in C major:
The V7 chord would be G7 (dominant of the tonic C major).
If you want to tonicize D minor, you would use A7 (the dominant of D minor, or V7/ii).
If you want to tonicize G major, you would use D7 (the dominant of G major, or V7/V).
Types of Secondary Dominants
Secondary dominants are classified based on what they are tonicizing:
V7 of V (Dominant of Dominant):
This is the dominant seventh chord of the dominant (V). It resolves to the V chord.
Example in C major: D7 (V7/V) -> G major (V) -> C major (I).
V7 of ii (Dominant of ii):
This is the dominant seventh chord of the ii (minor) chord. It resolves to the ii chord.
Example in C major: A7 (V7/ii) -> D minor (ii) -> G major (V) -> C major (I).
V7 of iii (Dominant of iii):
This is the dominant seventh chord of the iii chord. It resolves to the iii chord.
Example in C major: B7 (V7/iii) -> E minor (iii) -> A minor (vi) -> D minor (ii) -> G major (V) -> C major (I).
V7 of IV (Dominant of IV):
This is the dominant seventh chord of the IV chord. It resolves to the IV chord.
Example in C major: C7 (V7/IV) -> F major (IV) -> C major (I).
V7 of vi (Dominant of vi):
This is the dominant seventh chord of the vi chord. It resolves to the vi chord.
Example in C major: E7 (V7/vi) -> A minor (vi) -> D minor (ii) -> G major (V) -> C major (I).
How Secondary Dominants Work
Secondary dominants temporarily shift the harmonic focus to a chord other than the tonic by borrowing the dominant function of that chord. These borrowed dominants create a sense of arrival and resolution when they resolve to the target chord. However, they usually do not stay in the key of the tonicized chord and quickly return to the original key.
For example:
V7/ii -> ii: The V7/ii (dominant of the ii) chord resolves to the ii (minor second degree) chord. In C major, A7 (V7/ii) resolves to D minor (ii).
V7/V -> V: The V7/V (dominant of the dominant) resolves to the dominant (V), and then the progression moves back to the tonic. In C major, D7 (V7/V) resolves to G major (V) and then moves to C major (I).
Notating Secondary Dominants
To notate a secondary dominant, you write it as V7 of [target chord]. This means you indicate which chord is being tonicized.
How the secondary dominants would look in C major
V7/ii: A7 (dominant of ii)
V7/V: D7 (dominant of V)
V7/IV: C7 (dominant of IV)
V7/vi: E7 (dominant of vi)
If you’re analyzing a progression, the secondary dominant will appear as a dominant seventh chord that resolves to a non-tonic chord.
Voice Leading and Resolution of Secondary Dominants
Secondary dominants behave just like the primary dominant (V7) in terms of voice leading:
The third of the dominant seventh (V7) chord resolves up by a half-step to the tonic of the chord it is tonicizing.
The seventh of the dominant seventh (V7) chord resolves down by a half-step to the third of the tonicized chord.
The root of the dominant seventh (V7) chord resolves down a perfect fifth (or up a fourth) to the root of the chord being tonicized.
For example, in C major:
D7 (V7/V) -> G major (V):
The C# (third of D7) moves to D (third of G major).
The C (seventh of D7) moves down to B (third of G major).
The D (root of D7) moves down to G (root of G major).
Example Progressions Using Secondary Dominants
ii -> V7/ii -> ii -> V:
In C major: D minor (ii) -> A7 (V7/ii) -> D minor (ii) -> G major (V) -> C major (I).
V7/V -> V -> I:
In C major: D7 (V7/V) -> G major (V) -> C major (I).
V7/IV -> IV -> I:
In C major: C7 (V7/IV) -> F major (IV) -> C major (I).
Common Misconceptions
Secondary dominants do not change the key to the tonicized chord. They only create temporary emphasis. The original key remains, and after resolving to the target chord, the progression will usually return to the tonic or the primary dominant.
A secondary dominant does not always have to resolve directly to the chord it tonicizes; it can be part of a larger progression that moves through other chords. However, the dominant function will still resolve in some manner.
Suspensions, Retardations, and Anticipations
Suspension
approach
held over from previous chrd
reolution
resolves to consonant note
Direction of resolution
Down by a step
Main Feature
creates dissnance that resolves downward
Retardation
approach
held over from preicious chord
reslatution
resolves to consonant note
direction of resalution
up by a step
Main feature
similar to suspensins but resolves upwards
anticipation
Approach
approached early from next chord
reslution
No resolution needed
direction od reslution
None (note stays the same)
Main featrue
Note from the nect chor is played early
Examples in Context
Suspension (4-3 suspension)
F major -> C major:
F (root) in F major is held over into C major.
F resolves down by a step to E (3rd of C major).
Retardation
G major -> C major:
C (7th of G major) is held over into C major.
C moves up to D (which is the 3rd of C major).
Anticipation
C major -> F major:
The A (3rd of F major) is played early while still in C major.
A is anticipated and remains the same when the F major chord arrives.
Key Takeaways
Suspensions and retardations create tension and are resolved by stepwise motion (down for suspensions and up for retardations).
Anticipations, on the other hand, do not create tension but instead preemptively introduce a note from the next chord, typically without the need for a resolution.
Suspensions and retardations are often used in cadential contexts, while anticipations are typically found in melodies.
Motifs
Repeated musical idea or phrase.
Pitch Functions
Literal Motivic Repetition - because it's literally repeated.
Motivic Sequence - moving it up a step (same intervals but moving up).
Motivic Inversion (turn it upside down).
Rhythmic Functions
Shrink the rhythm. Make it smaller in time. Double time it (diminution).
Make it longer or larger (augmentation).
Part Writing
Avoid Parallel Fifths and Octaves
Parallel fifths and parallel octaves should be avoided in traditional voice leading. These reduce the independence of the voices and weaken the harmonic progression.
Example to avoid: Soprano moving from C to D while Bass moves from G to A, both moving in parallel fifths.
Proper Spacing Between Voices
Soprano and alto
Keep the interval between the soprano and alto within a seventh (preferably no larger than an octave).
Alto and tenor:
The distance between these voices should typically be within an octave or a sixth.
Tenor and bass
Keep the tenor and bass voices within a twelfth (preferably no wider than a tenth).
Smooth Voice Leading: -
Ensure stepwise motion is favored in voice leading, especially in inner voices (alto and tenor).
Leaps of more than a fifth should be avoided in these voices if possible, as they can create a disjointed sound.
If a leap is necessary, it should typically be followed by stepwise motion to resolve it.-
Example: If the soprano leaps from C to G (a fifth), the next movement should be stepwise, like moving from G to F.
Voice Independence:
Each voice should have its own independent melodic line.
This means no two voices should move in exactly the same way (unless it's parallel motion, which we avoid in certain cases like parallel fifths and octaves).
Inner voices (alto and tenor)
should have some independent movement to avoid them sounding like a block of harmony. They should not simply follow the soprano and bass parts.
Avoid Overlapping and Crossing Voices:
Overlapping voices
occur when one voice moves to a note that is already held by a voice on a higher or lower part.
Crossing voices
happens when two voices exchange registers
(e.g., the soprano moves below the alto, or the tenor moves below the bass).
Both overlapping and crossing voices can confuse the texture and make the harmony difficult to follow.
Consonance and Dissonance:
Consonant intervals
thirds, sixths, perfect fifths, perfect octaves should generally be the foundation of the harmony.
Dissonant intervals
seconds, sevenths, diminished and augmented intervals should be used sparingly, and when they occur, they should resolve by step to consonant intervals
(e.g., a seventh resolving to an octave).
Chords and Doubling:
In a triad, the root is often doubled, particularly in root position chords.
The third can be doubled, but this is less common in traditional harmony (except in first inversion chords).
The fifth is usually the least likely to be doubled.
Inverted chords
especally first inversions can have the fifth or third doubled, but it's still important to maintain balance and avoid doubling the bass note in the case of second inversion chords
Voice Range:
Ensure each voice stays within an appropriate range:
Soprano: C4 to A5 (or higher depending on the style).
Alto: F3 to D5.
Tenor: C3 to G4.
Bass: E2 to E4.
Leaps and Resolutions:
When a voice leaps, it is typically followed by stepwise motion to resolve the leap smoothly.
bass lines
leaps are more common than in the inner voices,
soprano
leaps can be fine if it is followed by stepwise motion.
Dissonances
like sevenths or ninths
should resolve by step
(e.g., a seventh resolves downward by step).
suspensions
Avoid Overuse of Suspensions:
Suspensions can be effective for creating tension,
but they should not be used too frequently or without resolution
Typically, a suspension resolves down by step, and it should always be prepared by a consonant interval.
Example: A suspension in the alto (from G to F) resolving down to an F (if it’s a 4-3 suspension).
Maintain Smooth Harmonic Progression:
Voice leading
should guide harmonic progression smoothly.
The goal is to ensure that the harmonic changes are well-supported by each voice's individual movement, avoiding awkward or jarring shifts in harmony.
Avoid Unnecessary Cross-Relations:
Cross-relations (also known as chromatic alterations)
can create harsh or unpleasant clashes between voices.
For example, a C-natural in one voice and a C-sharp in another voice should be handled carefully to avoid jarring harmonic shifts.To minimize such cross-relations, it is often advisable to maintain parallel motion in similar voices and to resolve chromatic alterations in a way that preserves overall harmonic cohesion.
Modes
7 modes
Different scales built on different tonics
Ionian (I own it bc its easy )
Starts on scale º 1
Major scale
Whole whole half whole whole whole half
Dorian
Start on scale degree 2
Use the same pitches as the major scale
(flatted 3rd and 7th if starting on c)
Whole half whole whole whole half whole
Phrygian
Scale degree 3
Half whole whole whole half whole whole
(Flatted 2, 3, and 6 from a major scale)
Lydian
Scale degree 4
Whole whole whole half whole whole half
(Raised 4th from a major scale)
Mixolydian
Scale degree 5
Whole whole half whole whole half whole
(Flatted 7 from a major scale)
Aeolian
Scale degree 6
Whole half whole whole half whole whole
Same pitches in same order as natural minor scale
Locrian
Scale degree 7
Half whole whole half whole whole whole
Sequece
WWHWWWH ——Ionian —————— I
WHWWWHW ——Dorian ———-——Don’t
HWWWHWW ——Phrygian ——-——Party
WWWHWWH ——Lydian ———-——Lightly
WWHWWHW ——Mixalodian ———Mitzvahs
WHWWHWW ——Aeolian—————Are
HWWHWWW ——Locrian ——-——LOCO