Glossary
6/4 Chords (doubling rule)
A specific doubling rule for second inversion triads, stating that the bass note (which is the fifth of the chord) must always be doubled.
Example:
In a C major 6/4 chord (G in the bass), the G must be doubled, following the 6/4 chords doubling rule.
Acceptable Progressions (Bass rule)
A bass line rule specifying that it should primarily use tonic, supertonic, subdominant, and dominant triads to form progressions.
Example:
The bass line adhered to acceptable progressions, moving smoothly between I, IV, and V chords.
Allowable Leaps (Bass rule)
Specific intervals permitted for leaps in the bass line, including thirds, perfect fourths/fifths, sixths, octaves, and descending diminished fifths (if resolved).
Example:
The bass line executed an allowable leap of a perfect fifth, moving from C to G.
Alto
The lower female vocal range, providing harmonic support below the soprano.
Example:
The rich inner harmonies were provided by the alto line, adding depth to the choral texture.
Avoid Parallel Fifths
A fundamental voice leading rule prohibiting two voices from moving in the same direction, maintaining the interval of a perfect fifth.
Example:
Moving from C-G to D-A in two voices would create parallel fifths, which is generally forbidden in common practice harmony.
Avoid Parallel Octaves/Unisons
A fundamental voice leading rule prohibiting two voices from moving in the same direction, maintaining the interval of a perfect octave or unison.
Example:
If the soprano and bass both move from C to D an octave apart, they create parallel octaves, which weakens the independence of the lines.
Avoid Parallel Thirds/Sixths
A voice leading guideline advising against having three or more consecutive parallel thirds or sixths, as it can sound too simplistic or rigid.
Example:
While two parallel thirds are fine, a long string of parallel thirds/sixths can make the harmony sound uninteresting.
Bass
The lowest vocal range, typically sung by male voices, providing the harmonic foundation.
Example:
The powerful foundation of the chord was established by the deep, resonant notes of the bass line.
Bass Voice Spacing
A spacing rule allowing for a larger interval between the tenor and bass voices compared to the upper voices.
Example:
Unlike the upper voices, the bass voice spacing can be wider, often more than an octave from the tenor.
Common Tones
A voice leading principle where notes shared between consecutive chords are kept in the same voice to ensure smoothness.
Example:
When moving from a C major to a G major chord, the G note is a common tone and should ideally be held in the same voice.
Direct fifths
Occurs when two voices approach a perfect fifth by similar motion, and the upper voice leaps.
Example:
Moving from C-E to D-A where the upper voice (E to A) leaps, while the lower voice (C to D) steps, creates a direct fifth.
Direct octaves
Occurs when two voices approach a perfect octave by similar motion, and the upper voice leaps.
Example:
If the alto moves from C to G and the soprano moves from E to G, both moving up to an octave, it's a direct octave.
Doubling Rules
Guidelines for which note of a triad should be duplicated in four-part harmony when only three unique notes are present.
Example:
Understanding doubling rules is crucial for correctly realizing figured bass and avoiding common voice leading errors.
Four-part harmony
A musical texture where four distinct voices (Soprano, Alto, Tenor, Bass) each have their own melodic line that harmonizes with the others.
Example:
Composing a hymn in four-part harmony requires careful attention to how each voice moves to create a cohesive and pleasing sound.
Harmonic Sense (Bass rule)
A bass line rule stating that its notes must support the soprano notes to create logical and functional harmonies.
Example:
The bass line must make harmonic sense with the upper voices, ensuring that the resulting chords are musically coherent.
Leading Tone Doubling
A voice leading rule that prohibits doubling the leading tone in any voice, especially in outer voices, due to its strong tendency to resolve.
Example:
You should never double the leading tone in a V chord, as it creates issues with resolution and voice independence.
Leading Tone Resolution
The rule stating that the leading tone (the 7th scale degree) in an outer voice must resolve upwards by step to the tonic.
Example:
In a G major chord, the F# (leading tone) in the soprano must resolve up to G in the next chord, demonstrating proper leading tone resolution.
Leaps (Bass rule)
A bass line characteristic allowing for more frequent and larger leaps compared to upper voices.
Example:
Unlike the soprano, the bass line often features significant leaps to outline chord changes.
Melodic Interest (Bass rule)
A bass line rule encouraging a balance of upward and downward motion, steps, and leaps to create an engaging melodic contour.
Example:
Despite its foundational role, the bass line maintained melodic interest through a varied contour of steps and leaps.
Melodic Intervals
The specific intervals allowed within a single melodic line, typically restricted to major/minor seconds, thirds, perfect fourths, and perfect fifths, avoiding augmented/diminished intervals and larger leaps.
Example:
The composer ensured the soprano line used only acceptable melodic intervals, avoiding any jarring augmented seconds.
Mostly Stepwise Motion
A voice leading rule, especially for the soprano, that encourages melodic movement primarily by steps (seconds) rather than large leaps.
Example:
The soprano line demonstrated mostly stepwise motion, creating a smooth and singable melody.
No Voice Crossing
A voice leading rule that prohibits voices from overlapping their ranges, meaning the soprano should always be above the alto, alto above tenor, and tenor above bass.
Example:
If the alto sings a note higher than the soprano, it violates the no voice crossing rule.
Non-Tendency Tones
Notes in a chord that do not have a strong melodic pull to resolve in a specific direction, making them suitable for doubling.
Example:
The root and fifth of a major triad are typically non-tendency tones and are safe to double.
Octave Leap Direction (Bass rule)
A bass line rule requiring a change of melodic direction after an octave leap.
Example:
After a large upward octave leap, the bass line immediately changed direction and moved downwards by step.
Realizing a figured bass
The process of interpreting numerical symbols (figures) written below a bass line to create a complete four-part harmonic progression.
Example:
On the exam, you might be asked to realize a figured bass by adding the soprano, alto, and tenor parts above the given bass and figures.
Repeated Bass Notes (Bass rule)
A bass line rule allowing for the repetition of bass notes on strong beats, at the start of a phrase, or if the second note is a suspension.
Example:
The bass line used repeated bass notes on the tonic, providing a stable harmonic anchor.
Repeated Harmonies (Bass rule)
A bass line rule allowing for the repetition of harmonies on strong beats or at the start of a phrase.
Example:
The bass line repeated the tonic harmony at the beginning of each phrase, following the rule for repeated harmonies.
Rhythmic Value (Bass rule)
A bass line characteristic noting that quarter notes are most frequent, but half and eighth notes are also used.
Example:
The bass line primarily used quarter notes, but occasionally incorporated a longer rhythmic value like a half note for emphasis.
Roman numeral analysis
A system used to identify the diatonic function and inversion of chords within a key, typically applied to four-part harmony.
Example:
To understand the harmonic progression of a piece, we perform Roman numeral analysis, labeling each chord as I, V6, ii, etc.
Root Doubling
The primary doubling rule, stating that the root of a triad should be doubled whenever possible.
Example:
In a C major chord, root doubling means having two C's in the four voices.
Root-Position V7 (doubling rule)
A specific doubling rule for a root-position dominant seventh chord, where if the fifth is omitted, the root should be doubled.
Example:
In a G7 chord, if you omit the D (fifth), you would double the G (root) according to the root-position V7 doubling rule.
SATB
An acronym representing the four main vocal parts in choral music: Soprano, Alto, Tenor, and Bass, arranged from highest to lowest range.
Example:
When analyzing a Bach chorale, you'll often see the music notated for SATB choir, with each part contributing to the overall harmony.
SATB Order
A voice leading rule requiring that voices maintain their proper high-to-low order (Soprano, Alto, Tenor, Bass) to prevent voice crossing.
Example:
Maintaining strict SATB order prevents the alto from singing above the soprano or the tenor from singing below the bass.
Similar Motion to Perfect Intervals
A voice leading rule stating that if outer voices move to a perfect interval (unison, fifth, octave) by similar motion, the upper voice must move by step.
Example:
To avoid a direct fifth, if the bass moves up a step to C, and the soprano moves up to G, the soprano must move by step, illustrating similar motion to perfect intervals.
Soprano
The highest vocal range, typically sung by female voices in choral music.
Example:
The melody of the hymn was carried beautifully by the soprano section, soaring above the other voices.
Tendency tones
Notes that have a strong melodic pull to resolve in a specific direction, such as the leading tone (up to tonic) and the chordal seventh (down to the third).
Example:
The F# in a G major chord is a tendency tone that wants to resolve to G.
Tenor
The higher male vocal range, often bridging the gap between the bass and alto voices.
Example:
The tenor part often has a strong melodic presence, sometimes even carrying a counter-melody.
Thirds/Fifths Doubling
A secondary doubling rule, allowing the third or fifth of a triad to be doubled if it leads to better voice leading.
Example:
Sometimes, to avoid parallel octaves, thirds/fifths doubling might be preferred over doubling the root.
Triad Outlines (Bass rule)
A bass line characteristic where successive leaps can collectively outline the notes of a triad.
Example:
The bass line's sequence of leaps from C to E to G clearly formed a triad outline of a C major chord.
Unequal Fifths
A voice leading error where a diminished fifth resolves to a perfect fifth, generally avoided except in specific progressions like I - V4/3 - I6.
Example:
Resolving a B-F diminished fifth to a C-G perfect fifth is an instance of unequal fifths, which is usually avoided.
Upper Voice Spacing
A spacing rule stating that the distance between the soprano, alto, and tenor voices should be less than an octave.
Example:
To maintain a cohesive sound, the upper voice spacing should be kept relatively close, within an octave.
Voice leading
The horizontal movement of individual melodic lines within a polyphonic texture, focusing on how parts move in relation to each other to create smooth and logical progressions.
Example:
Good voice leading ensures that even complex harmonies sound natural and flow well, avoiding awkward leaps or parallel motion.