Four-Part

Harmony
Vol
Vo lume I

David Powell
FOUR-PART HARMONY
Volume
Volume 1

by David Powell

©Copyright 2013, David Powell

Powell
www.vancouvermusictheory
www.vancouvermusictheory.com
.com
 Table
Table of Contents

Preface
Harmony and Voice Leading

1. Introduction ~ Welcome
Welcome to the Study of Harmony!
2. Rules for Writing Vocal Music in Four Parts
3. Introduction to Primary Triads
4. Introduction to Secondary Triads
Triads
5. The Basics of Chord Progression
6. Consonance and Dissonance
7. Introduction to First Inversion
I nversion Chords
8. Harmony and Rhythm, Part 1
9. Passing and Neighbour Notes
10. V7, Part 1
11. ii7, Part 1
12. Appoggiaturas, Accented Passing Notes and Accented Neighbours
Neighbours
13. Triads
Triads in Second Inversion
14. The viio6 triad
15. The iii triad
16. Harmony and Rhythm, Part 2
17. V/V and viio6 /V
18. Introduction to Minor Keys
19. Modulation
20. More Progressions with First Inversion Chords
21. Deceptive and Plagal Cadences
22. Suspensions and Incomplete Neighbours
23. V7 and ii7, part 2
24. The Passing Six-Four
Six-Four
25. Pedals, Echappées and Anticipations
26. Melodic Considerations in Four Parts
27. Exposed 5ths and Octaves
28. Sequences
29. More about Chord Progressions
30. Summary of Guidelines for Doubling
Doubling
Forms

31. Binary and Ternary Forms

32. Phrases and Modulation
33. How to Find Cadences
34. The Unexpected
Unexpected

Melody Writing

35. Melody,
Melody, Part 1: Phrases in Melody
Melody Writing
36. Melody,
Melody, Part 2: Steps and Leaps; Writing
Writing in 3/4 time
37.
37. Melody, Part 3: Shape; Writing in 4/4
4/4 time
38.
38. Melody, Part 4: Melodies with Pickups; Implied Harmony
39. Melody,
Melody, Part 5: Writing Melodies in Compound Time; Syncopation
40. Melody, Part 6: Minor Keys; Tempo
41. Melody, Part 7: Eight-Bar Melodies
42. Melody, Part 8: Development

Appendix
Appendix

1. Baroque Dances
2. Common Progressions in Piano Style
3. Structure and Analysis of 7th Chords
4. Non-Chord Note Summary
5. The Leadin
Leadingg Note
Note
6. Root/Qual
Root/Quality
ity Chord
Chord Symbol
Symbol Summary
Summary

Review Sheets
Preface
This volume is intended to help students prepare for exams as the Royal
Royal Conservatory of Music’s
Music’s
Introductory and Basic Harmony
Har mony exams. It is divided into four sections:

1. Harmony and Voice Leading

2. Binary and Ternary Forms

3. Melody Writing

4. Appendix

I recommend that teachers begin teaching the melody writing material fairly early in the course,
more or less at the same time the har mony units.

There are homework sheets for all of the units in the Harmony and Voice Leading section and in
the Melody Writing section. I have
have not included exercises for analysis of binary and ternary
ternar y forms,
nor for chord symbol analysis, because I always found that commercially available practice exams
afforded sufficient material for practice in these areas.

There are seventeen review sheets.

sheets. These are simply extra exercises.
exercises. They are meant to start being
used about half-way through the course.

At this time Volume

Volume II is not yet available. Volume
Volume II will cover Intermediate and Advanced
Harmony.
Harmony. I hope to have it ready by mid-2014. Subscribe via RSS to my news at
www.vancouvermusictheory
www .vancouvermusictheory.com
.com to receive progress updates.
updates. You are also welcome to leave
leave
comments, questions and feedback at my website.

I hope you enjoy using this book!

David Powell
Vancouver,
Vancouver, Canada

April, 2013

Instructions regarding copying

You
You may print out the book for your
your own use. However
However,, please respect my copyright and do not
copy or share this file. Copies of this book may be purchased in PDF format at

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for $4.50

A print edition will be available soon, probably by June 2013.

2013.
HARMONY AND
VOICE LEADING
 Unit 1 ~ Welcome to the Study of Harmony!

In this course we will learn how to compose simple four-part vocal music. That means music
for four different voice parts.

Imagine a choir in a church. The choir is made up of men and women. Some of the
women can sing high notes quite easily. They are called sopranos. Others sing low notes
well. They are called altos. Likewise, among the men, some are good at singing higher notes.
They are called tenors. The basses are the guys who can sing really low.

When we write music for these four voice types, we arrange it on a system of two staves. The
music that is sung by the sopranos and altos is written on the top staff, and the men's music
is on the bottom staff. To avoid confusion, the stems on the soprano and tenor notes always
go up, and the stems on the alto and bass notes always go down. That way, everyone knows
which note they should sing and can follow their line.

Here's an example of music written for four voices. This is the beginning of a hymn called
All through the Night.

# j j
& œœ . œ œ œ œœ œœ . œœ œ œ j
Soprano
Alto
˙ œœ .. œœJ ww
Tenor ? # œœ œœ œœ œœ œœ œœ œœ œœ . j
˙œ œ œœ œ œ ww
Bass

You may be wondering why we begin studying harmony using music for singing. This is
because vocal music tends, in general, to be a bit simpler than instrumental music. This
makes it a good place to start for first time harmony students.

One big difference between vocal music and instrumental music is that vocal music
tends to move by step (a step is a 2nd), as in a scale. In instrumental music, it is easier
to leap around. A leap is any melodic interval of a 3rd or more.

________________________________________________________________________
1-1
Types of voice movement
There are some other terms and concepts with which you should be familiar before we
begin:

1. Contrary motion:
When two voices are moving in opposite directions, we say that they are moving in
contrary motion.

& ˙˙ ˙ œ # œ n œœ œœ
2. Similar motion:
When 2 parts are moving in the same direction, we say that they are moving in similar motion.

œ œ
&œ œ ˙
3. Parallel motion:
When 2 parts move in similar motion and stay exactly the same distance apart, we say that
they are moving in parallel motion.

&œ œ œ œ
4. Oblique motion:
When one voice moves and another stays on the same note, this
is called 'oblique motion'.

& œ œœ œœ œœ
________________________________________________________________________
1-2
&
?˙ ˙ ˙ ˙ ˙ ˙

&
?˙ ˙ ˙ ˙ ˙ ˙

&
?˙ ˙ ˙ ˙ ˙ ˙

Homework for Unit 2 - page 4 of 4

 Unit 3 ~ Introduction to Primary Triads

The first triads we will learn about are the tonic, subdominant and dominant triads. These
triads are called the primary triads. To begin with, we will look at the primary triads only in
root position.

& ww ww ww
C+: I IV V

As you know, there are three notes in a triad. Since we are writing music for 4 voices, one of
the notes must be sung by 2 of the voices. We call this 'doubling'. The best note to double in
a primary triad is the root. The 5th is an acceptable second choice.

The 3rd of V is the leading note of the key. It is a very strong note and we only need one of
them at a time, so never double the leading note. Note that in minor keys you must raise
the leading note with an accidental.

Phrases and Cadences

Pieces of tonal music are made up of phrases, which are a bit like sentences in speech. In the
kind of music we will be studying and writing, phrases are very often four bars long. You will
also see short phrases that are two bars long.

As you probably already know, phrases are separated from each other by cadences. A cadence
is a pair of chords that creates a sense of partial or full closure or rest, rather like commas
and periods in spoken and written language.

There are four kinds of cadence: perfect, imperfect, plagal, and deceptive. Perfect and imperfect
cadences are the most common. We'll learn about them today, and save plagal and deceptive
cadences for later.

________________________________________________________________________
3-1
The Perfect Cadence

A perfect cadence consists of the dominant chord, V, going to the tonic chord, I.
This is like a full stop in speech. There is a feeling that the idea is complete.

Figure 3.2 shows a four-bar phrase, with a perfect cadence at the end.

fig. 3.2

#
& 34 œœ œœ œœ ˙˙ œœ œ œœ œ
William Croft

˙˙
œ
? # 34 œœ œ œœ œ ˙ œ œ œ
œ œ œœ ˙
œ ˙
Perfect cadence: V - I

When writing this progression, there are a couple of things to remember. One is that the
part that has the leading note of the scale in the V triad should sing the tonic note in the I
triad (there are exceptions that we'll learn about later). In figure 3.2, the soprano has the
#
leading note, F , which then rises to G. In figure 3.3, the soprano has the leading note B,
which then rises to C.

fig. 3.3

&c ˙˙ ˙˙ There's another thing to notice about these examples.

Notice in figure 3 that both triads contain the note G.
This is referred to as a 'common tone'. Whenever

?c ˙˙ ˙˙ possible, try to keep the common tone in the same voice.

In figure 3.3, the G is in the tenor in both chords. In
figure 3.2, the common tone is the D, and is in the alto
in both chords.
C+: V I

________________________________________________________________________
3-2
The Imperfect Cadence

Sometimes a phrase comes to rest on the dominant chord. This is known as an imperfect
cadence. Why is it called imperfect? Because although V is a good place to rest for a moment,
it doesn't quite feel like home. The piece only really feels finished when we return to our
starting place, the tonic triad.

The imperfect cadence consists of a V chord, and a chord before it. Here's a phrase that
ends with an impefect cadence.

& b 34 ˙˙ œ œ˙ . jœ œ ˙ œ œ
Rowland Prichard

œ œ
˙œ œ œœ œ˙ . jœ œ œœ œœ œœ œ œœ œœ
? b 34 œ œ
Imperfect cadence: vi V

There is a family of chords that go well before the V chord. We can call them dominant
approach chords. The first one of these we will look at is IV ("iv" in minor keys), the
subdominant triad. IV goes very well to V.

fig. 3.5

&c ˙˙ ˙˙ Figure 3.5 shows you IV g oing to V. In this

progression there are no common tones,

?c ˙ ˙˙ but the voices are moving quite smoothly - by

step or small leap.
˙
IV V
You must always be on the lookout to avoid consecutive octaves and 5ths. It's surprisingly
easy to let them slip into your work. One trick you can use with the progression IV - V is
to have the upper three parts descend while the bass rises. Two of the voices descend by
step, and one leaps down a third. This is what happens in figure 3.5.

________________________________________________________________________
3-3
 Unit 4 ~ Introduction to Secondary Triads
In the last unit, we met the primary triads, I, IV, and V.

The remaining triads - ii, vi, and vii - are known as secondary triads. In this unit we'll look at
vi and ii. You'll learn about iii and vii in a later unit.

Both ii and vi like to go to V. Let's have a look at each in turn.

Approaching V with vi

fig. 4.1
C Am G C

&c ˙˙ ˙˙ ˙˙ ˙˙
?c ˙˙ ˙ ˙ ˙˙
˙ ˙
I vi V I

The submediant triad is a minor triad in major keys.

Figure 4.1 shows the vi triad approaching the dominant. When it comes right before or
right after V, the best note to double is the 3rd. The root can also be doubled.

Notice the common notes. The tonic and submediant triads share two common notes.

In figure 4.1 I have kept them in the same voice, which makes the movement of the
voices between the chords (known as 'voice leading') very smooth.

________________________________________________________________________
4-1
 Approaching V using ii

fig. 4.3

&c ˙˙ ˙˙ ˙˙ ˙˙
?c ˙˙ ˙˙ ˙ ˙˙
I ii V I

Figure 4.3 shows V being approached using ii, the supertonic triad. Like vi, ii is a minor
triad. Also like vi, the best notes to double are the root and the 3rd.

ii goes realy well to V, but this progression usually doesn't work well in reverse, so don't go
from V to ii.

________________________________________________________________________
4-2
 Homework for Unit 4 ~ Introduction to Secondary Triads

Use the blank bars for questions 1 - 3. Use one bar per progression. Write functional chord
symbols below the staff and root/quality symbols above.

b
1. Write the progression vi - V in G, A, B , D and F. Double the 3rd of vi and the root of V.

Em D
#
& c ˙ ˙˙
?# c ˙ ˙˙
G: vi V

#
2. Write the progression ii - V in C, G, D, E,and C . Let the soprano have the supertonic
going to the leading note (2-7). Double the root of ii and of V.

&
?
3. Write the progression I - vi - ii - V - I in F and G. Use quarter notes for the first four chords and
a whole note for the last one

&
?
Homework for Unit 4 - page 1 of 3
4. Add the inner voices to the following. Use I, IV, ii, vi, and V. Write the chord symbols and
name the keys. Let the leading note rise to the tonic when V goes to I. Double the 3rd of vi.
These are all in major keys.

Example:

& ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙
? ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙
C+: I IV V I

& # # ˙ ˙ ˙ ˙ # ˙ ˙ ˙ ˙
? ## ˙ ˙ ˙ ˙ # ˙ ˙ ˙ ˙

#
& ˙ ˙ ˙ ˙ bb ˙ ˙ ˙ ˙
?# ˙ ˙ ˙ ˙ bb ˙ ˙ ˙ ˙

#
&# ˙ ˙ ˙ ˙ ### ˙ ˙ ˙ ˙
? ## ˙ ˙ ˙ ˙ ### ˙ ˙ ˙ ˙
Homework for Unit 4 - page 2 of 3
&˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
?˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

& # # # # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
? #### ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

&b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
?b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

& ˙
b b ˙ ˙ ˙ w
? bb ˙ ˙ ˙ ˙ w

Homework for Unit 4 - page 3 of 3

 Unit 6 ~ Consonance and Dissonance

Some notes sound stable together. They are restful to hear. They sound as if they 'agree'
with each other. We say these intervals are 'consonant'.

The consonant intervals are:

& ww b w n w ww b ww n ww ww
P1 -3 +3 P5 -6 +6 P8
Other pairs of notes sound like they disagree. Instead of sounding restful and relaxed, they
sound tense and restless, and want to resolve or release their tension. These are dissonances.

Although they create tension, dissonances can be very beautiful. In fact, it is the resolution
of dissonance into consonance that gives music much of its power.

The dissonant intervals are:

& b ww n ww ww
-2
# ww b ww b ww n ww
-2 +2 P4* X4 o5 -7 +7

There are special guidelines that you must follow when you use dissonances. We will begin
to learn about this in later units.

*The Perfect 4th is a special case. It is considered dissonant only when the lowest note of
the 4th is in the bass part.

_______________________________________________________________________
6-1
 Homework for Unit 6 ~ Consonance and Dissonance

Name these intervals, and state whether each is consonant or dissonant.

& w # ww bw ## ww
+3 Consonant

b
& w w b ww ww b ww

& ww #w ww
#w w

bw ## ww
& # ww b ww bw

w bb ww wb w
& w ww

Homework for Unit 6 page 1 of 1

 Unit 7 ~ Introduction to First Inversion Triads
So far we have only looked at triads in root position. These triads sound strong and solid.
Usually cadences use root position chords.

Away from cadences we can add more variety and interest to our music by using chords in first
inversion as well as root position. In 1st inversion, the bass note is the third of the triad.

Root position triads contain a 3rd and a 5th from the bass. 1st inversion triads contain
a 3rd and a 6th:

& ww ww
5 6
3 3

In the Functional Chord Symbol system we omit the '3' and just write a '6' after the symbol.
So, a 'ii' chord in 1st inversion is written "ii 6"

In the Root/Quality system, we write the root, then the quality, then a forward slash, then
the bass note. So, a 1st inversion D minor triad is written "Dm/F"

Dm/F

& ww
? w
6
C+: ii

The doubling rules are the same for 1st inversion and root position triads.

Being inverted doesn't usually change a chord's level. So just as 'ii' is a level 3 chord,
so is ii6, and ii6 likes to go to level 2 just as much as ii.

________________________________________________________________________
7-1
 C Dm/F G C

&c ˙˙ ˙˙ ˙˙ ˙˙
?c ˙˙ ˙ ˙˙ ˙˙
˙
C+: I ii6 V I

Another common technique involving 1st inversions is to go from a root position chord to its
1st inversion, or vice versa. In this example, a ii chord goes to ii 6 before going to V:

&c ˙˙ ˙˙ ˙ ˙˙
?c ˙ ˙˙ ˙˙ ˙
˙ ˙
C+: ii ii6 V I

Notice in the first bar how the soprano and bass trade notes: the soprano goes from F to D
while the bass goes from D to F. This is called voice exchange and is very effective.

________________________________________________________________________
7-2
 Homework for Unit 11 ~ ii7 and its Inversions

Write these progressions.

progressions. Show all keys and functional chord
chord symbols.

1. ii7 - V Each chord is complete. Double the root of V.

Write the progression in F,

F, G, b b b
G, B , D, E , A, A , and E

&b ˙ #
˙
?b ˙ ˙˙ #
˙
F+: ii7 V

&
?
In the rest of these, make sure the tonic note in the 1st chord stays in the same voice to become
the 7th of ii 7.

2. I - ii 7 in A and F.
F. Leave the 5th out of ii7

3. I - ii 6 - V - I in F, G and B. Use the soprano 3 - 2 - 2 - 1

5

4. I - ii4 - V - I in G and B
3
b
b
5. I - ii 4 - V6 - I in E and D. Use the soprano 3 - 4 - 4 - 3
2 5

Homework for unit 11 page 1 of 2

 2.
3.

&
?

&
?
4.

&
?

5.

&
?
Homework for unit 11 page 2 of 2
 Unit 12 ~ Accented Passing Notes, Accented Neighbours,
Neighbours,
and Appoggiaturas
Appog giaturas

In unit 7 we looked at passing notes and neghbour notes. Passing and auxiliary notes are always on
weak beats.
beats. In this unit we will look at some non-chord
non-chord notes that take place on strong beats.
beats.
First, we will look at accentend passing notes and accented auxiliary notes.

Accented Passing Notes

Like regular passing notes, these fill in gaps between chord notes. As the name suggests, however,
they occur on strong beats, not weak ones.
ones.

Figure 1 shows an accented passing note in the soprano:

soprano: the C on the 2nd beat of the first bar.
This C is on the rhythmically stronger than the B that follows it, and fills in the gap between the
D and the B.

fig. 1

& œœ œœ œœ œ ˙˙
These are labelled 'apn'.

?œ œ œ œ ˙˙
C+: I6 ii6 V I

________________________________________________________________________
________________________________________________________________________
12 - 1
Accented Neighbour Notes

Like regular neighbour notes, these decorate a single note. Figure 2 shows an example: here,
#
the C in the melody is an accented neighbour. It decorates the D,
D, but is rhythmically stronger
than the D which comes after it.

fig. 2 Mozart

& # # œ œ ˙ œ œ œœ
These are labelled 'ann'.
#
&# Ó œ œ œ œ
œ œ œœ
D+: V ____ I ________ vi _________

Appoggiaturas

Accented passing notes and neighbours are all approached

approached and quitted by step.
step. A third kind
of accented non-chord note, the appoggiatura, is approached by leap. It then resolves by step,
step,
either up or down.

# fig. 3

& # ˙œ œ œœ œ œœ œœ œ œ ˙˙
œ œ
? ## œ œ œ œœ œœ œœ ˙˙
D+: V V4 I6 V4 I V7 I
2 3

In figure 3, the soprano has two appoggiaturas. The first is the E in the first bar, and the second
is the B in the second bar. Both are accented and approached by leap. The E resolves down to D, D,
and the B resolves up to C . #
________________________________________________________________________
________________________________________________________________________
12 - 2
 Homework for Unit 12 ~
Accented Passing and Neighbour Notes
Notes and Appoggiaturas

Circle and identify the accented passing notes, accented neighbour notes and appoggiaturas
in the following. The abbreviations are apn, ann, and app.

Add functional chord symbols.

symbols.

œ œ
&w œœ œ œ˙ œœ ˙˙ œw œ œ œ œ
œ œ œ œ œ
? wœ œ œ œ œœ ˙ œ œ œ œ

& œœ œ˙ œ œœ œ œ œ ˙ # œœ œœ œ œœ œœ œ˙ œ œ ˙˙
œ ˙ œ
? ˙˙ ˙˙ œ œ ˙ # œœ œ œ w
˙ ˙
˙ œ œ

#
& œ œ œœ œ ˙˙ œ
b œ˙ . œ œ œ œ œœ œ œ œ
œ
œ
? # œ œ œœ ˙˙
œ œ
œœ ˙œ œ ˙˙ œ œ
b œ œ œ

Homework for unit 12 page

page 1 of 1
 Unit 13 ~ Triads in Second Inversion

So far we have seen triads only in root position and 1st inversion. Sometimes we also use
triads in 2nd inversion.

This unit will look at the cadential six-four and the auxiliary six-four. We'll look at other
possibilities in a later unit.

The Cadential Six-Four

As the name implies, the cadential six-four is found at cadences. In this pattern, notes of the
V triad are decorated. Figure 1 shows a simple progression from V to I. Figure 2 shows the
same progression, but this time the notes of the V triad have been decorated: the 3rd of V
(B) is decorated by the note above it (C), and the 5th (D) is also decorated by the note above
it (E).

These decoration notes form a tonic triad in 2nd inversion, which is labelled I6
4
The cadential six-four chord will almost always go to V or V7. When it goes to V, the note
that is a 6th from the bass goes down a step, and the note that is a 4th from the bass
goes down a step (the 4th from the bass is actually forming a dissonance with the bass -
see unit 6 - and must go down a step if the chord in question occurs on a strong beat. 4ths
that occur between any of the upper three voices are not treated as dissonant).

&w wfig. 1
ww
fig. 2
˙˙ ˙˙ ww fig. 3
˙˙ ˙˙ ww
? ww ww ˙ ˙ ww ˙w ˙ ww
w
6 6
C+: V I I4 V I I4 V I

In figure 2, the soprano has the line 3-2-1. This is perhaps the most common soprano line
However, it is perfectly possible to have 8-7-8, as in figure 3.

Important: the I6 is always on a stronger beat than the V chord that comes after it.
4
________________________________________________________________________
13 - 1
The cadential six-four chord is really just a decoration of V. So, any chord that goes well before
V will go well before the cadential six-four.

fig. 4

& ˙˙ ˙
˙ ˙ ˙
˙ ˙ ww ˙˙ ˙˙ ˙˙ ˙˙ ww
? ˙˙ ˙˙ ˙w ˙ ww ˙˙ ˙
˙
˙w ˙ ww
I IV I6 V I I ii6 I6 V I
4 5 4

The Auxiliary Six-Four

This pattern is called 'auxiliary' because the step up followed by a step back down in two of
the upper voices resembles the motion of auxiliary (neighbour) notes. It is basically a
decoration of the tonic triad. In the soprano you could use 5 - 6 - 5 or 3 - 4 - 3. See figure 5.

This chord could also appear on a strong beat, preceeded by either I or another chord,
for example V. In this case it is sometimes called an "Appoggiatura Six-Four". See figure 6.

fig. 5 fig. 6

& ˙ ˙ w ˙˙ ˙˙ ẇ ˙
? ˙˙ ˙˙ ww ˙˙ ˙ ˙w ˙
I IV6 I I V IV6 I
4 4

Notice that the bass note of IV6 is doubled.

4

________________________________________________________________________
13 - 2
 Homework for Unit 13 ~ Triads in Second Inversion

1. In the blank bars, write I6 - V - I in eight different keys. I've done the first for you.
4
Do it exactly as in the example below: double the bass note of the six-four chord. The mediant falls
to the supertonic, and the tonic falls to the leading note.

Use the soprano 3-2-1 in all of them.

Show functional chord symbols and keys.

˙
& ˙ ˙˙ ww
?˙˙ ˙ ww
˙
C+: I6 V I
4

&
?

&
?
Homework for unit 13 page 1 of 2
 In progressions between viio6 and I it is quite easy to get consecutive 5ths. Some textbooks
permit this because one of the 5ths is diminished, not perfect. However,
However, it is usually
possible to arrange the voices so that the 5ths become 4ths, and this is better.

fig. 7

˙
&˙ ˙˙ ˙˙ In figure 7, there is a diminished 5th going

˙
?˙ ˙˙ ˙˙ to a perfect 5th in the inner voices.

fig. 8

& ˙ ˙ ˙ In figure 8, we have exactly the same progression.

˙ ˙ ˙ However,
However, the inner voices have been switched so
that we now have consecutive 4ths, which are
?˙ ˙ ˙ always allowed.

&˙ ˙ ˙˙ In the progression I - viio6 - I6, one of the

inner voices often has 5 - 4 - 5. Avoid
Avoid having

? ˙˙ ˙˙ ˙˙ 5 - 4 - 5 in the soprano. It sounds awkward,

because once the soprano goes from 5 to 4,
you then expect to hear 3.

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14 - 3
Common Progression you should know so far:

Progression Soprano

IV - V - I .................. 4-2-1

ii6 - V - I .................. 2-7-1

IV - V4 - I6 .................. 6-7-8
2

I - ii4 - V6 - I .................. 3-4-4-3

2 5

ii6 - V - I .................. 2-2-1

5

I6 - V - I .................. 3-2-1
4

I - IV6 - I .................. 5-6-5

4

I - viio6 - I6 .................. 3-2-1

I - ii - viio6 - I6 .................. 3-2-1

 Homework for Unit 14 ~ vii o6 and its Inversions

o
In these, double of I and I6, the root
double the root of 3rd of vii 6
root of ii, the 3rd of vi, and the 3rd

Write functional
functional chord symbols and the soprano scale degrees, as in the first example.
b
1. Write the progression I - viio6 - I6 in A, D, F, and B . Use the melody 8 - 7 - 8.

& # # # œœ
8

œœ
7
˙˙
8

? ### œ œœ ˙˙
œ
A+: I viio6 I6

2. Write I - vii o6 - I6 in E , A, B and G. b

G. Use the melody 3 - 2 - 1.

b
& bœb 3

œ ˙
2 1

? b b b œœ œ ˙
b
E +: I viio6 I6

3. Write I - ii - viio6 I6 in G, F, B , and D. b

D. Do it exactly as in the example, so that the ii and viio6
chord get an eighth note each. Use the melody 3 - 2 - 1.

#
& œ
3 2
œœ œ ˙
1

œ
?# œ œ ˙
œ ˙
G+: I ii viio6 I6
Homework for unit 14 page 1 of 2
4. Write I - vii o6 - vi in any 3 keys you like
like except C.
C.

&
?
Complete these in 4 parts. Most of these use only I, I6, and viio6. Use ii where I've indicated.

the root of I and I6, the root

Double the the 3rd of viio6.
root of ii, and the

# #
&˙ ˙ ˙ # ˙ ˙ ˙ bb b ˙ ˙ ˙ #
? ˙ ˙ ˙ ### ˙ ˙ ˙ bb b ˙ ˙ ˙ # ˙ ˙ ˙
I ii viio6 I6

b
& b b b ˙ ˙ ˙ # # # ˙ ˙ ˙ # # # # # b b
? bbbb ## # ## ## ˙ ˙ ˙ bb ˙
# ˙ ˙
I ii viio6 I6

& # n ˙ ˙ ˙ bbbbb ##
? # ˙ ˙ ˙ n ˙ ˙ ˙ bbbbb ˙ ˙ ˙ ## ˙ ˙ ˙
Homework for unit 14 page 2 of 2
 Unit 15 ~ The Mediant Triad
The mediant triad is the triad built on the third degree of the scale. iii is a secondary triad, like
ii, vi, and viio. In major keys it is a minor
minor triad. In minor keys it is major.
major. Double the root or
the third.

One of the main uses of iii is to harmonize the leading note when it appears as part of a
descending melody.
melody. Look at the melody in figure 1. You will notice that it contains the leading note,
B, and that B falls to A, instead of rising to C. This is a g reat place to use iii. The iii triad works well
here because when the leading note is harmonized as the 5th of iii it doesn't have a dominantdominant
function and doesn't sound like it needs to go back to the tonic.

fig. 1

&c ˙˙ ˙ w
?c ˙ ˙˙ ww
˙
I iii IV

Figures 2 and 3 show vi going to iii and iii going to vi. These are good progressions because the
roots of iii and vi are a perfect 4th apart. Chords with roots a P4 or P5 apart usually go well one
after the other.

fig. 2 fig. 3

& ˙ ˙ ˙ ˙
? ˙˙ ˙˙ ˙˙ ˙˙
vi iii iii vi

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15 - 1
The first inversion of iii

The iii triad has a special trick it can do. In its first inversion, it can take the place of V,
and go to I. Look at the iii6 triad, and notice how similar it is to a root position V triad:
the notes of V are G-B-D, and the notes of iii6 are G-B-E. So the bass note of iii6 is
the same as the root of V, and both chords contain the leading note.

w
& w
fig. 4
ww
? w w
V iii6

If you use iii6 as a substitute for V, remember that the leading note should behave as if it
were part of V, and rise a step. Also, when you go from iii6 to I, the best note of iii6 to double
is the third (the bass note).

In this progression, it is usual to have the soprano fall from the mediant to the tonic (3 - 1).
See figure 5. This means that the leading note will appear in an inner voice, and may fall a 3rd to
sing the 5th of I (see discussion in unit 10). In figure 5, the leading note is in the alto and is falling
to G.

fig. 5

˙
&˙ ˙˙
?˙ ˙˙
iii6 I

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15 - 2
 Common Progression you should know so far:

Progression Soprano

IV - V - I .................. 4-2-1

ii6 - V - I .................. 2-7-1

IV - V4 - I6 .................. 6-7-8
2
I - ii4 - V6 - I .................. 3-4-4-3
2 5

ii6 - V - I .................. 2-2-1

5

I6 - V - I .................. 3-2-1
4
I - IV6 - I .................. 3-2-1
4

I - viio6 - I6 .................. 3-2-1

I - ii - viio6 - I6 .................. 3-2-1

I - iii - IV .................. 8-7-6

iii6 - I .................. 3-1

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15 - 3
 Homework for Unit 15 ~ The Mediant Triad

Use one bar for each progression. Write the functional chord symbols and the soprano scale
degrees as in the first one below.

# #
1. Write the progression I - iii - IV in G, F, D, A, E, B, F and C . Use the melody 8 - 7 - 6. Double
the root of each chord.

#
& c ˙˙ 8
œœ 7
œœ 6

?# c ˙ œ œœ
˙ œ
G+: I iii IV

&
?
2. Write the progression iii - vi in G and D in half notes.
b
Then write the progression vi - iii in F and B in half notes.

&
?

Homework for unit 15 page 1 of 3

In triple time you may have the following harmonic rhythms: a harmony change once per bar,
a harmony change on each beat of the bar, or a harmony change on the first and 3rd beats (2 + 1)

34 ˙ . œ œ œ ˙ œ
In compound times, each main beat of a bar is a group of 3, so we can apply the same patterns as
we have in 3/4 to 6/8:

68 ˙ . œ. œ. œ œJ œ œJ œ œ œ œ œ œ
The harmonic rhythm often depends on the tempo of the piece. In fast pieced there will be fewer
chord changes per bar, so the last example above, where there is a change on each 1/8 note, is
more likely to be a slower piece.

Syncopation
As you learned in unit ___, you must avoid repeating a chord from a weak beat to a strong beat.
because this changes the feel of the time signature. Composers do actually do this deliberately in
real music - it's called 'syncopation' but at our stage it's best to avoid it. These examples all contain
syncopation:

œœ 34 œœ ˙˙ 68 jœ œ jœ œ
&c œœ œœ œœ œJ œ œJ œ
œœ ˙ jœ œ jœ œ
?c œ œœ œ œ 34 68 œJ Jœ
c œ ˙ œ 34 œ ˙ 68 œJ œ œJ œ
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16 - 2
It is unusual to have harmonies changing on the 1/8th note in simple time (note that this is OK
in 6/8). However it does sometimes happen. Usually when it happens you will have 2 harmonies
of an eighth note each, rather than just one. Study the following

& c œ œ ˙ œœ
œ œ .
OK

œ j
œ œ . œJ œ 4˙ œ 3
AVOID AVOID
œœœœ .. jœ ˙˙ ..
œJ
œ œœ . œ j œœ . jœ ˙˙ .
? c œ œ œ œ . œJ ˙œ œ 34
˙ œ œœ . œJ .
c œ œ œ œ œ . œJ œ œ 34
œ œ œ. œJ ˙.
Harmonic Rhythm versus Note Rhythm

Notice that the number of notes in the bar has nothing at all to do with the number of harmony
changes. The first example below has 16 notes in the first bar but only one harmony. The 2nd
example has one note in the melody but 3 harmony changes under that note.

?# c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bach

G+: I ________________________________________

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16 - 3
 Bach

# # ẇ ˙ œ
œ œ œ œ
œ œ œ œ œ
& ˙ œ œ
? ## œ œ œ œ œ œ # œ j
œ œ œ œ #œ œ
D+: I vi IV

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16 - 4
 Homework for Unit 17 ~ V/V and vii o6/V
1. In the following blank bars, write the progression V/V - V in every major key.

&c ˙# ˙ ˙˙ b # bb
?c ˙˙ ˙ b # bb
C+: V/V V

&
?

&
?
2. In the following blank bars, write the progression vii o6/V - V in every major key.

& ˙# ˙ ˙
? ˙˙ ˙
˙
Homework for unit 17 page 1 of 5
&
?

&
?
# b
3. Write V7/V - V in A, B, C , D, E, F, A , and F #

& # # # ˙# ˙ ˙˙
? ### ˙˙ ˙

&
?

Homework for unit 17 page 2 of 5

 #
4. Write I - V/V - V - I in C, D, E, F , G, A. Use quarter notes.

& œœ #œ œœ œ
? œ œœ œ œœ
œ

&
?
b b b b
5. Write vi - vii o6/V - V - I in D , E , F, G , A , and B. Use quarter notes

& œœ œ# œ œ œœ
? œœ œœ œ œ
œ œ

&
?
Homework for unit 17 page 3 of 5
The only place to use v is when the next chord is not the tonic chord. Here are two
possibilities:

b
& b b ˙˙ ˙˙ œœ œ œœ œ
? bbb ˙ ˙ œ œœ œ œœ
v VI i v VI III

Note how the second example above is a sequence and uses the melodic minor scale descending in
the soprano. v can also be used to harmonize the melodic minor descending in the bass. The
following progression was in fact very common in the Baroque Era.

b
& b b œ œœ œœ œœ
? bbb œœ œœ œ nœ
œ œ
i v6 iv6 V n

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18 - 9
 The Submediant Triads in Minor Keys

Although the melodic minor scale contains both a diatonic and a raised 6th degree, the VI triad
built on the raised submediant is rarely used. Use the diatonic VI most of the time.

b b
& b ww wn w
VI nvio
The diatonic VI triad is used much as vi is in major keys. You can have a deceptive cadence in
n
minor keys by going from V to VI.

n
VI can also approach V at an imperfect cadence.

b
& b n ˙˙
b ˙˙ ˙˙ n ˙˙
? b b b ˙˙ ˙˙ ˙˙ ˙˙
V n VI VI V n
As with V - vi in major keys, double the third of VI. Otherwise, you may find that you have
consecutive 5ths.

VI goes very well to III, and III goes well to VI, because their roots are a perfect 4th apart:

b
& b b ˙˙ ˙ ˙ ˙˙
? bbb ˙ ˙˙ ˙˙ ˙
˙ ˙
VI III III IV

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18 - 10
 n n
You might occasionally see vio used, perhaps right before viio6. Note that vio is a diminished
triad, and therefore sounds best in 1st inversion.

b
& b b œ n œœ n œœ œœ
? bbb œœ œœ œ œ
i nvio6 viio6 i6

___________________________________________________________________________
18 - 11
You can also use iii as a pivot, and you can use I as a pivot:. See figure 4:

fig. 4

& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
? ˙ ˙ #˙ ˙˙ ˙ ˙˙ #˙ ˙˙
C: I iii C: V I
G: vi V I G: IV V I

Note: In C, no chord with F in it can be a pivot chord into G major, because G major contains F . #
Modulation in Minor Keys

In major keys, the most usual goal of modulation is the dominant. In minor keys, it is the relative
major:
fig. 5

& ˙˙ ˙˙ ˙˙ ˙˙ œ˙ . œ œ œœ œ˙ œ ˙˙
? ˙ ˙ ˙ ˙˙ œ # œ œ œœ ˙ ˙˙
a-: i VI i V6 i iv
C+: IV V I ii V7 I

Figure 5 shows modulations from a minor to C major. Notice that when you modulate to the
relative major in minor keys, it's not necessary to add accidentals. In a sense you actually have to
#
remove the accidental that's keeping you in the minor key (in this case G ), in order to get to
C major.

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19 - 3
Modulation to Closely Related Keys

The key of the dominant and the key of the relative major are both what we call "closely related
keys". There are ther closely related keys, too. A closely related key is one that is no more than
one sharp or flat away from the key we are in.

So, for example, if we are in C major, the closely related keys are:

1. D minor (one flat away)

2. E minor (one sharp away)
3. F major (one flat away)
4. G major (one sharp away)
5. A minor (same key signature)

Here are some example modulations, all using pivot chords:

& œœ œœ # œœ œœ œœ œ # œœ œ
?œ œ œ œœ œ œ œ #œ œœ
œ œ œ œ
C: I6 ii6 C: I vi
d: i6 vii6 i e: iv V i

œ
& œ œœ œ b œ œ œœ œœ # œœ œœ
˙
?œœ œœ œ œ œœ œ œœ œœ
C: I ii C: I ii6
F: vi V6 I a: iv6 V7 i
5

____________________________________________________________________________
19 - 4
Summary
1. Modulation is the process of passing from one key into another. Modulation is very common
and a very important aspect of classical music.

2. In order to move into another key, you usually need to introduce the leading note of the new
key.

3. Often, composers use a pivot chord to help with the modulation. A pivot chord belongs
simultaneously to the old key and to the new key.

4. When modulating to the dominant in major keys, vi6 is a very good pivot chord, as it
becomes ii6 of the new key.

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19 - 5
 Homework for Unit 20 ~
More progressions with First Inversion Chords

Use one bar per question as in the examples. Show all keys and functional chord symbols.

b
1. Write the progression I - IV 6 - I6 in F, A , B, D. Use the melody 3- 4- 5.
Double the roots of I and I6, and either the root or fifth of IV6 .
Double

&b c œ œœ ˙˙ b b b b œœ œœ ˙˙
?b c œœ œœ ˙˙ b b b b œ œ ˙˙
F: I IV6 I6 b
A:

#
2. Write the same progression in e, g, c and e minor. b

&
?
# b b b b
3. Write the progression V - IV 6 - V6 - I in A, F , B , D , E , G , F and C. Use the melody 5-4-2-3.

& # # # œœ œœ œœ œœ ######
? ### œœ œ œ œ ######
A: V IV6 V6 I

Homework for unit 20 page

page 1 of 2
 &
?
4. Complete these progressions
prog ressions in 4 voices. Show all keys and chord symbols.

& ˙ ˙ ˙ #### ˙ ˙ ˙
˙
? ˙ ˙ #### ˙ ˙ ˙
& # # # ˙ ˙ ˙ b ˙ ˙ ˙
? ### ˙ ˙ ˙ b
b
& b b bb ˙ ˙ ˙
? bbb ˙ ˙ ˙ bb
& b b bbb ˙ ˙ ˙ ˙
? bb ˙ ˙ ˙ ˙ bbb
Homework for unit 20 page
page 2 of 2
 Unit 21 ~ Deceptive and Plagal Cadences

As you know,
know, the V chord usually goes to I at the end of a phrase. We
We expect it to go to I, because
it's natural to end a phrase on I.

Sometimes composers like to trick us. They make us think that the V chord is going to I, and then
they make it go to vi instead. This is called a deceptive cadence, or an interruped cadence.

While V - vi is the most common deceptive cadence, V - IV6 is also possible.

˙˙ ˙˙ ˙œ œ U
&c ˙˙ ˙˙
?c ˙˙ ˙˙ ˙˙ ˙ ˙
˙ ˙u
Generally, the third is doubled. When V7 goes to vi, the leading note rises
Notice the doubling of vi. Generally,
and the 7th falls, just as with V7 - I.

Here is a deceptive
dece ptive cadence in g minor. The doubling in VI is the same as in major keys.
Note the chord symbols:

b U
& ˙˙
b ˙˙ ˙˙ ˙œ œ ˙˙
? bb ˙ ˙˙ ˙˙ #˙ ˙
u
iv6 i6 iio6 V # - 7 VI
4 5

____________________________________________________________________________
____________________________________________________________________________
21 - 1
 dece ptive cadence to IV6:
Here's an example showing a deceptive

fig. 3 U
&b œœ œœ œ œ ˙
?b œ œ œœ œœ ˙˙
œ u
b
Notice how the seventh of the V7 (the B ) stays put to become the root of the IV6.

In a plagal cadence, the IV chord goes to the I chord. In hymns and chorales the plagal cadence
is not found nearly as often as the perfect cadence. In fact you will almost never see one. They
were very common in Renaissance
Renaissance sacred music,
music, however,
however, and lived on in some
some church traditions
in the "Amen" sung at the end of a hymn:

U
&b ˙ ˙˙
?b ˙˙ ˙
A -
u
men

_____________________________________________________________________________
_____________________________________________________________________________
21 - 2
 Homework for Unit 21 ~ Deceptive Cadences
Write these progressions.
progressions.

b #
1. I - ii6 - I6 - V - vi in A, B and C . Use the same note values as figure 3 in unit 21.
4
b
2. I - ii6 - V7 - IV6 in E , F and G. Do this one in 3/4 time.
5
Use quarter notes for the first 3 chords and a dotted half note for the last one.

# #
& c œ œ œ œ w
#
1.

œ
? # # c œ œœ Óœ
#
œ w

#
&# # 34 2.

? ### 34

#
&# #
? ###
Homework for
for unit 21 page 1 of 1
 Unit 22 ~ Suspensions and Incomplete Neighbours
The final non-chord note we will look at is the suspension. Basically a suspension is just a
note that stays late and then has to catch up with the other voices.

Figure 1 shows the progression V7 - I.

fig. 1

& ˙˙ ˙˙ In figure 1, the alto voice has an F going to an E. Now look at

? ˙˙ ˙˙ figure 2. In figure 2, the alto stays 'too long' on the F, and arrives
on the E after everybody else has moved.

fig. 2

& ˙˙ ˙œ œ The F on the third beat in the alto does not belong to the I
chord. This note is the suspension.

? ˙˙ ˙˙ Suspensions always occur on strong beats. They always resolve

by step to a chord note on a weak beat, usually downwards.

V7 I4 - 3

This suspension is labelled 4 - 3, because F is a 4th above the bass, and then resolves to E, which
is a 3rd above the bass.

fig. 3

&˙ ˙ ˙˙ ww
? ˙˙ ˙œ œ ww
Another common suspension is V 4-3.
See figure 3.

___________________________________________________________________________
22 - 1
Preparation and Resolution

The note right before the suspension is called the 'preparation'. In figure 3, it's the C in the tenor
on beats 1 and 2. This is the note that will stay late and become the suspension.

The suspension resolves down by step to become a chord note. This chord note is called the
'resolution'. Thus there are actually 3 parts to a suspension: preparation, suspension, and
resolution.

For analysis purposes, the abbreviation for suspension is 'susp'.

Doubling and suspensions

When the 3rd of a triad or chord is suspended, as in a 4 - 3 suspension, do not sound the note
of resolution at the same time as the suspension. In figure 5 we have a suspension, C, in the tenor
sounding against the resolution, B, in the alto. If you play figure 5 you will hear how harshly
it clashes (you also have a doubled leading note).

In this case it would be better to let the alto stay on the G

If the root of a chord is suspended, as in figure 6, you may sound the resolution
(the C in the bass) at the same time as the suspension (D in the soprano). The D clashes with
both the E and the C, but does not sound overly harsh.

fig. 5 fig. 6

˙
& ˙ ˙ ww ˙w ˙ ˙w ˙
?˙˙ ˙œ œ ww ˙˙ ˙ ww

__________________________________________________________________________
22 - 2
Incomplete Neighbours

Incomplete neighbour notes are approached by leap and then resolve by step. They are
#
always unaccented. In the following example, the F is the incomplete neighbour.

Abbreviation: "inn"

& b b œœ # œ œœ
? bb œœ œœ

____________________________________________________________________________
22 - 3
 Homework for Unit 22 ~
Suspensions and Incomplete Neighbours

1. Write the progression V7 - I 4-3 in every major key. Do them exactly as in the example.
The soprano has 2 - 1. The leading note is in an inner voice and falls to take the 5th of I

Example:

˙
&˙ ˙œ œ
?˙ ˙˙
C: V7 I 4-3

&
?

&
?
Homework for unit 22 page 1 of 2
 b #
2. Write the progression i - V4-3 - i in these minor keys: a, b, c, d, e, f, g, b , f .

Do these exactly as in the example. Double the root of each chord.

Remember to raise the leading note!

& ˙˙ ˙˙ ww
? ˙˙ ˙œ # œ ww
a: i #
V4- 3 i

&
?

&
?

Homework for unit 22 page 2 of 2

 Unit 23 ~ V7 and ii7, part 2

Here's another common progression for your collection: I - V4 - I6

3

This progression uses the melody 3 - 4 - 5. See the example in figure 1.

fig. 1

&˙ ˙ 3 4
˙˙ 5 ˙˙
V4 I6
? ˙˙ ˙˙ ˙˙ I
3

There are some interesting things to notice about this progression.

1. It's almost exactly the same as a common progression that you already know: I - vii o6 - I6

2. You can have a o5 going to a P5: look at the soprano and tenor in figure 1.

3. The seventh of V7 is rising a step. This is the opposite of what you have been doing so far:
normally, your seventh falls. However, in this one situation, when V 4 goes to I6, it may rise a step.
3
The reason this is allowed is that, when it rises a step, the seventh creates parallel thirds with the
bass part, and this sounds good. The 7th is also part of a scalar passage, which also helps to make
the rising 7th sound convincing.

fig. 2

#
& ˙˙ ˙˙ ˙˙
Figure 2 shows the same progression in

? # ˙˙ ˙˙ ˙˙ G major.

____________________________________________________________________________
23 - 1
Very often if we use V7 to I, we don't use the seventh right away - instead, we add it after the rest
of the chord has apeared, like this: the V triad appears without a 7th at the beginning of a beat,
and then one of the voices falls a step from the root to the 7th. In figure 3, it's the alto.

fig. 3

œ
&œ œœ œ ˙˙
œ
?œ œ ˙˙
C: ii6 V - 7 I
5

Notice how this is labelled. First, you just write an ordinary "V" for the root position V triad.
Then, when the 7th appears, you just write a hyphen and a "7" underneath - there's no need to
write "V" again.

Incidentally, you can use this technique with any seventh chord. So far we know ii 7 and V7:
see figure 4.

fig. 4

& œœ œ œ œ ˙˙
? œ œ
œ ˙
œ ˙
C: ii - 7 V - 7 I

In unit 11, we talked about ii7 going to V. It can also go to V 7. Usually the best way to handle ii7
to V7 is to leave the 5th out of one of the chords. Otherwise you will get either rough voice leading
or consecutive 5ths.
____________________________________________________________________________
23 - 2
If you leave the 5th out of a seventh chord, one note will have to be doubled. In V 7, double the
root only. In ii7, you may double the root or 3rd. Never double the 7th of a seventh chord.

fig. 5 fig. 6 fig. 7

& ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
? ˙˙ ˙ ˙˙ ˙˙ ˙ ˙˙
˙
C: ii7 V7 ii7 V7 ii7 V7

In figure 5, the 5th is missing from V 7. In figure 6, the 5th is missing from ii 7, and the root
is doubled. In figure 7, the 5th is left out of ii 7 and the 3rd is doubled.

Approaching the 7th

So, we now have 2 ways to approach the 7th of ii 7. You may approach it by common tone
(as explained in unit 11) , or you may step down into it from a strong beat to a weak beat, as
explained in this unit.

These 2 methods are also fine for approaching the 7th of V 7. In addition, you may also approach
the 7th of V7 by leap from below. Do not approach it by leap from above, because that will be
hard to sing and sound rough.

common note: by step: by leap from above:

excellent by leap from below:
good avoid
good
˙
& ˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙
?˙˙ ˙ ˙˙ ˙ ˙ ˙ ˙˙ ˙
____________________________________________________________________________
23 - 3
 Common Progression you should know so far:

Progression Soprano

IV - V - I .................. 4-2-1

ii6 - V - I .................. 2-7-1

IV - V4 - I6 .................. 6-7-8
2
I - ii4 - V6 - I .................. 3-4-4-3
2 5

I6 - V - I .................. 3-2-1
4
I - IV6 - I .................. 5-6-5
4

I - viio6 - I6 .................. 3-2-1

I - ii - vii o6 - I6 .................. 3-2-1

I - iii - IV .................. 8-7-6

iii6 - I .................. 3-1

I - IV6 - I6 .................. 3-4-5

V - IV6 - V6 .................. N/A

I - V6 - vi .................. 3-5-8

I - V4 - I6 .................. 3-4-5
3

ii6 - V - 7 - I .................. .2 - 2 - 1
5

____________________________________________________________________________
23 - 4
Pedals

Pedal notes are usually long, held notes in the bass. They begin as chord notes, and then the
harmony changes above them, making them dissonant. Usually the harmony then retur ns
to the original harmony, and the pedal becomes consonant again. In the following example,
the C in the bass starts as the root of I. It becomes dissonant when the upper 3 voices
have the vii triad on the 3rd beat, and becomes consonant again when the harmony returns
to the tonic:

Use a solid line to indicate a pedal, as in the example:

& ˙ ˙ ˙˙ ww ..
? ˙w ˙ ˙ ww .
. .
I IV viio I
1 pedal _______________________

Pedal notes are called pedals because they are common in organ music, and organs have a
row of keys on the floor which are called pedals and are played with the feet. The organist
holds the pedal note with their foot and has their hands free to play the higher parts.

Usually pedal notes are found on the tonic and dominant notes. When analysing the
functional chord symbols over a bass pedal, don't bother specifying inversions, since the
lowest note of the chord is not the bass note (the pedal is the bass note). For example the
vii triad in the example about is in "1st inversion" as its lowest note is D but this doesn't
mean anything as the real bass note is the pedal.

Listen to Bach's Fantasie in G major BWV 572. The central section is amazing: it has a
suspension in every bar, a long pedal on the dominant before the end, and a surprise ending!

____________________________________________________________________________
25 - 3
 Homework for Unit 25 ~ Echappées, Anticipations and Pedals

Rewrite these progressions in the blank bars provided. Decorate the soprano
notes that are marked '*' with an échappée:

& œœ
*
œœ œœ *
œœ
? œœ œ œœ œ

&
*
œœ œ œœ *
œœ *
œ œ
*
œ
*

œ
*

? œ œœ œœ œœ œ œœ œœ œœ
œ
Rewrite these cadences with anticipations in the soprano.

b
& œœ œ ˙˙
b ## œ œ œ ˙˙
œ
? b b œœ œ ˙˙ œ
## œ œ ˙˙

Homework for Unit 25 page 1 of 2

Write these progressions:

#
&#
? ##
b
B:I iii IV V7 I F: I vi ii V I
1 Pedal ___________________ 1 Pedal __________________

Homework for Unit 25 page 1 of 2

 Unit 26 ~ Melodic considerations in four parts

By now you will have been studying the melody writing section of this book. The focus in that
section is on writing simple melodies. The good news is that all of the things you have learned in
that section apply to writing a good soprano line in your SATB hymns and chorales.

But what about the lower three voices? Do the same guidelines apply to them? Well, many
of them do. For instance, the rules governing leaps and steps apply equally to the inner voices
and the bass part. But let's discuss one or two other details that pertain specifically to the lower
three voices.

The alto and tenor voices

In a sense, the inner parts are less important than the bass and soprano parts. This is because they
are tucked away between them and are not heard as clearly.

For this reason, it is not quite so important to give the alto or tenor part an interesting melody. In
fact, it may at times be difficult. Below are the soprano and alto parts to a hymn . While the
soprano part has a nice shape, the alto part doesn't really have any shape at all. In fact, the alto part
would be unacceptable as a melody. However, as an alto or tenor part, it's perfectly OK.

#
&#c œ œ œ
œ œ œ œ œ œ œ œ œ ˙˙ ..
œ œ œ œ œ œ œ œ œ

____________________________________________________________________________
26 - 1
The bass part , like the soprano, is very important. It too should have a nice shape. You
may also find that the bass part leaps a little more than the other voices, and this is OK.

One very important technique is contrary motion between the outer voices. Try to use it
about 75% of the time. Study the following example, and note the relationship between
the outer parts. There is a nice mix of contrary, oblique, and parallel motion. The last line
is completely in contrary motion.
William Croft

# 3 œœ ˙˙ œœ œœ , œ
& 4 œ œœ œœ œ œ ˙˙ œ
? # 34 œœ œ œœ œ ˙ œ œœ œœ œœ ˙ œ
œ ˙
# ,
& œœ œœ . œ # œ ˙ œœ œœ œ œ #œ ˙ #œ
?# œ œ œ œœ J ˙˙ œœ œœ œœ ˙ œœ
œœ
# ,˙
& œ œœ # œœ œœ œ œœ œœ œœ œ ˙ œ
? # œœ œ œœ œ œ œ œ œ œœ # œ ˙˙ œœ

& # œœ œœ œœ œ œœ œ œœ œ ˙˙
œ
? # œœ œœ œ œ œœ œ œœ œœ œœ ˙
œ œ œ ˙
___________________________________________________________________________
26 - 2
 Unit 27 ~ Exposed Fifths and Octaves

There is one more voice-leading trap that we have to learn to avoid: exposed fifths and octaves.
Unlike the rules about overlaps or consecutives, this rule only concerns the bass and the soprano.
The tenor and the alto do not have to obey this rule.

To make this mistake, 3 things have to happen all at the same time:

1. The bass and the soprano must be going in the same direction (similar motion).

2. The bass and soprano must be going into (approaching) a perfect fifth or octave.

3. The soprano must be leaping.

The reason for this rule is that when the outer voices approach a 5th or octave in this way, it makes
the interval stand out in a way that is considered unpleasant.

Here are a couple of examples:

&c ˙ ˙ In this one all 3 things are happening, so it's a mistake:

1. The bass and soprano are both going up.

?c ˙ ˙ 2. They are approaching an octave.
3. The soprano is leaping.

& ˙ ˙ This one is also a mistake, because all three things are
happening:

?˙ ˙ 1. The bass and soprano are both going down.

2. They are approaching a perfect 5th.
3. The soprano is leaping.

____________________________________________________________________________
27 - 1
Note: in order for there to be a mistake, all three of the things mentioned above have to happen.
If only 2 happen, then there's no problem.

Look at the 3rd example. Here, the bass and soprano are approaching a fifth in similar motion,
but the soprano isn't leaping, so this is OK.

&˙ ˙
?˙ ˙

____________________________________________________________________________
27 - 2
 Unit 28 ~ Sequences
Music is full of repeated patterns called sequences. There are melodic sequences and
harmonic ones.

Melodic Sequences
A melodic sequence is a melody or motive repeated on a different scale step. Figure 1
shows an example of a melodic sequence. The first 5 notes form a pattern that is then
repeated a step higher.

fig. 1
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ Bach, WTC 1, Fugue no. 15

Harmonic Sequences
There are also harmonic sequences. They work like this: 1. We hear a progression of two
different triads or chords. To create a sequence, we transpose this progression up or down
a certain interval, generally using the same rhythmic values.

Here's an example: figure 2 shows a typical progression, I - IV. Let's take this progression, and
transpose it down a 2nd. We now have a sequence (figure 3). If we want, we can continue the
pattern. However, keep in mind that sequences get boring pretty quickly, so 3 or 4 transpositions
are enough.

fig. 2
fig. 3

&b ˙ ˙˙ ˙ ˙˙ ˙ ˙˙
?b ˙˙ ˙ ˙˙ ˙ ˙˙ ˙
˙ ˙ ˙
I IV I IV vii iii

____________________________________________________________________________
28 - 1
If the sequence in figure 3 is continued, we come back to the place we started, the I triad.
See figure 4. This is probably the most frequently used sequence in classical music. It is often
called the descending (diatonic) fifths sequence or "do-fa-ti-mi" (these are solfege symbols).

fig. 4

&b ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙
?b ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙
˙ ˙ ˙ ˙
I IV viio iii vi ii V I
Long sequences like this are more often found in instrumental music than in vocal, and you'd
probably never use the entire sequence in a hymn or chorale. However, there's nothing stopping
you from using part of it. For example, you might easily use the progression vi - ii - V - I at the
end of a hymn. This would be a sequence.

Figure 5 shows the sequence from figure 4 transposed into f minor.

& b b b b ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ n˙ ˙˙
? bbbb
fig. 5 ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙
˙ ˙ ˙ ˙
When you make a sequence, make sure that all the parts move as melodic sequences too, as in
figure 6. In figure 7 the soprano and tenor parts are not moving down a step with the other parts,
and this is incorrect.

fig. 6 fig. 7

&b ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙˙ ˙˙
?b ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙˙
˙ ˙ ˙
____________________________________________________________________________
28 - 2
 Ternary Form
Finally, let's look at ternary form. Ternary form is simply a 3-part form: ABA. The second A
section is usually an exact repeat of the first, although sometimes there may be a small change.
Here is an example of ternary form.

A
b b b 3 œ œ œ ˙ œ œ œ œ œ œ œ n œ œ œ œ œ œ
Clarke

& 4 œ
? b b b 34 ˙ œ œ œ œ ˙ œ œ . œ œ œ ˙ œ

b
& b b ˙ œ œ œ œ œ œ œ ˙. Fine
B
œ œ œ œœœ œ
? bbb œ œ œ œ œ œ œ œ œ œ œ ˙.
œ
b
& b b œœ œ œ œ œ œ œ œ œœœ œ œ œ œœ œ œœœ ˙.
? bbb œœ œ ˙. ˙ œ ˙ œ œ œ œ œœœœœœ
D.C. al Fine
A
At first sight this might look like a binary piece. However, if you look at the end, you will see the
words "da capo al fine". This means "go back to the beginning and play until the word Fine", which
you will see at the end of the A section. So you actually play the A section a second time after
you've played A and B the first time around. Sometimes the repeat of the A section is actually
written out. Notice that the capital-letter "A" is written a second time, at the end. Don't forget to
do this, as it will show that you recognize that this piece is in ternary form.

___________________________________________________________________________
31 - 4
 Unit 32 ~ Phrases and Modulation

Binary and Ternary pieces are made up of phrases. 95% of the time these phrases are exactly
4 bars long, and at the end of each phrase there will be a cadence.

On your exam, you will have to mark the phrasing. Here is how it's done:

# # 3 . œ œ œ œ œ œ œœœ œœœ œ œ
œ œœœ œœœ œ ‰.
& 8
? # # 38 . œ œ œ œ œ œ œœœ œ ‰ œ œ
œœœ œ œ œ œ œ œ œ .
I said just now that phrases are usually exactly 4 bars long. However, they don't always start on the
first beat of the bar. Here's the A section of the binary piece by Handel. In this example the first
phrase begins with an upbeat. Because the phrases are exactly 4 bars long, the 2nd phrase also
begins on an upbeat. I haven't shown the B section, but the phrases in the B section also start on
an upbeat.

#
& 8.# # 3 œJ œ œ œ œ œ œ œJ œ œ œ œ œ œj
? # # # 38 .œJ œ œ œ
J œ œ œ œ œJ œ œ œ
# #
& œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ .
? ### œ jœ j
œ œ œj .
œ œ
___________________________________________________________________________
32 - 1
Modulation

In classical music, all pieces have an overall key. The overall key of a piece is the one that it begins
and ends in. However, in the midle of the piece it's usual for the music to go off and explore other
keys. When music goes from one key to another, we say that it modulates.

In our binary pieces, we almost always have modulation. Sometimes a piece will go to a new key
and then go straight back to the original key. Or, it could visit 2 or 3 different keys before returning
to the original key.

Let's take a look at the Handel piece again. The piece begins in A major. However, notice that at the
#
end of the 2nd phrase there is a D in the melody, which then goes to E. This cadence is a perfect
#
cadence in E major. There are 3 things that tell you this. First, if you add D to the 3 sharps you
already have in the key signature, you get the key signature of E major. Second, the final note in the
melody is E. Third, the last two bass notes are the dominant and tonic notes of E major.

&## # . œJ œ œ œ œ œ œ œJ œ œ œ œ œ œj
? ### . œJ œ œJ œ œ œ œ œ œ œ œ œ
J

# #
& œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ .
? ### œ jœ j
œ œ œ œ j .
œ
E+: V I Perfect

modulation to E major

___________________________________________________________________________
32 - 2
Modulation in Minor Keys

In pieces that are in major keys, like the Handel one, the usual place to modulate first is the key
of the dominant. So in the Handel piece we went from A major to E major, which is the dominant
of A. If our piece was in C major, we would modulate to G major, and so on.

In minor key pieces, we usually either modulate first to the relative major, or to the minor
b
dominant. So, for example, if our piece is in C minor, our first modulation will be to E major, or
to G minor (not G major).

Here's an example of a minor key modulation. This is the A section of our rounded binary
example from page 3. The overall key of this piece is B minor. By the end of the A section,
however, we have modulated to D major, the relative major.

Unlike the modulation to E major in the Handel piece, this modulation did not require any
accidentals to be added. This is because D major is the relative major of B minor and has the same
# #
key signature (actually, we have to take away an accidental, A , because it's A that gives us B minor).
In this case you know the piece has modulated to D because you have a V - I cadence in D at the
end of the A section

# # . œ œ
& J J J #œ œ J œ œ œ œ œ œ œ œ œ œœœ œ.œ œ œ œ.
? # # . ‰ ‰ ‰ Jœ œ œJ œ œJ œ œ œ œ œJ œ œJ œ œœ œ.
D+: V I Perfect
Modulation and Ternary Form

There is one more important thing to remember about these forms and how they modulate. In
binary form, there will usually, though not always, be a modulation in the A section. The piece will
eventually return to the original key at some point in the B section. In ternary form, the A section
always cadences in the original key. In other words, the A section of a ternary form does not
modulate, or, if it does, it returns to the original key at the end of the A section. For example, if
we have a piece in ternary form in C major, the A section will end with a perfect cadence in C
major. The B section of a ternary form piece will most likely modulate.

___________________________________________________________________________
32 - 3
Figuring out Modulations

Sometimes figuring out where a piece has modulated can be a little tricky. One thing that can really
help is to memorize where pieces usually modulate (see previous page), and then check to see if the
piece you are looking at is behaving in the usual way. 90% of the time it will be.

There is one other thing that can help. Just remember that notes that are raised with accidentals are
often leading notes, especially in major keys. For example, if you are in C major and you see a G , #
#
you say to yourself "G is the leading note of A minor, so perhaps the music is going there".
#
You will probably find that it is, and that the note after G is A.

Let's take a look at an example. This phrase begins in G major. However, at the end we have a D . #
#
If we assume D is a leading note, that would mean that we are heading for E minor. We can
confirm that this is where we are going by looking at the final cadence. In the melody our last note
#
is E (the 'alto' has D to E) and we have B to E in the bass, which is the dominant note to tonic
note in E minor.

#
& 34 œ . jœ œ œ . œj œ œ œ . œj œ œ
œ ˙ #˙ . œ œ
? # 34 œ œ œ ˙ œ œ ˙
œ̇ . œ œ
e- : V i

In minor keys it can be a little more complicated, because notes are raised as part of the minor
scales. Let's look at the beginning of a minor key piece:

& c œ œ œ œ œ œ œ ˙ œ œ ˙ œ œ #˙
? c ˙ œ #œ #œ #œ #œ œ œ œ œ œ œ ˙
˙
___________________________________________________________________________
32 - 4
 # #
Here we have two raised notes, F and G . Looking at the key signature tells you we could be in
a minor or C major, and when you see that both hands start on A, and that we have G 's, you know #
that it's A minor.
#
However, what about the F ? In this case in makes no sense to think of it as a leading note, because
there is obviously no cadence in G major. In this case, it is simply there as a member of the a minor
melodic scale, preventing the augmented 2nd that we would have with G if the F was natural. #

V/V or modulation to the dominant at cadences?

Sometimes you will have to decide whether a chord with an altered note is indicating a modulation,
or if it's simply a secondary dominant.

Look at this 4-bar phrase, which consists of two 2-bar phrases:

œ U U
&œ œœ œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ œœ #œ ˙˙
? œœ œœ œœ œ œ #œ ˙ œœ œœ œ œœ œœ œœ ˙
˙u
u
C: I viio6 I6 vi ii6 V/V V I V4 I6 V6 vi6
3 G: ii6 V I
#
Now, both cadences have D - F - A going to G - B - D.

However, we will analyse the first one as V/V - V and the 2nd one as G: V - I
#
The first cadence has a motion towards G major with the F , but that motion is not strong
#
enough to qualify as an actual modulation. This is because the D-F -A chord is in first inversion
(weaker than root position) and it's also on a weak beat. The same bar has F on the strong beat, n
n #
so here the F is more important than the F . Also, there is no dominant approach chord in G.
#
At the second cadence the D-F -A chord is in root position, and there is a good dominant
approach chord, ii6, right before it. This will sound like a strong cadence in G major and is
therefore labelled as modulation.

___________________________________________________________________________
32 - 5
 Unit 33 ~ How to Find Cadences

At the end of each 4-bar phrase you will find a cadence. In this style of music the vast majority of
cadences are either perfect (V - I) or imperfect (? - V). Very occasionally you may find a deceptive
cadence (V - vi). Plagal cadences (IV - I) are usually not found, although nothing is impossible.

The first chord of a cadence is found on a weak beat, and the second chord is on a strong beat.
Often the cadence happens across a barline, as in these examples:

Cadence Cadence

& c œ œ œ œ w œ œ œ œ w
?c œ œ œ œ w œ œ œ # œ w
C+: V I Perfect C+: V/V V Imperfect

3 œ
& 4 œ œ ˙. ˙ œ ˙.
? 34 œ œ œ ˙ . œ œ œ ˙.
C+: V I Perfect I V Imperfect

____________________________________________________________________________
33 - 1
You can also have cadences from the 2nd beat of a bar to the 3rd beat. It's true that in triple time
the 3rd beat is a weak beat, but you will sometimes find the second chord of a cadence there
anyway.
However, a cadence will never occur from the first beat to the second beat of a bar, nor from the
third beat to the fourth (this is not true in compound time: see next page)

& c œ œ ˙ 34 œ œ œ
?c œ œ ˙ 34 œ œ œ
C+: I Perfect C+: V vi Deceptive

Decorating cadences with the cadential six-four

Very, very often the dominant chord at cadences is decorated with a cadential six-four.

Cadence Cadence

&4 3 œ œ œ ˙. c œ œœœ œ
? 34 œ œ œ ˙. c œ œ ˙
C+: IV I6 V I C+: IV ii I6 V
4 4

Often the cadential 6-4 is accompanied by an octave leap:

&4 3 œ œ œ ˙. c œ œœœ œ
? 34 œ œ œ ˙. c œ œ œ œ
Octave leap Octave leap
____________________________________________________________________________
33 - 2
Sometimes the melody goes on a little beyond the actual cadence chords. Consider this phrase by
Bach: the important cadence chords are on the 3rd beat of the 3rd bar to the 1st beat of the 4th,
but the melody continues until the end of the 4th bar.

#
& 4 3 œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
? # 34 œ œ
V I
Perfect

In compound time you are unlikely to see any time signature other than 6/8. In this meter you will
see cadences across barlines...

#
& 8 6 œ œ œ œ œ œ ˙.
? # 68 œ œj œ j œ œ œ œ .
œ
or from the 1st main beat to the 2nd. This may seem to contradict what I said on the previous
page, but in 6/8 the 2nd MAIN beat is stronger than the little beat (little beat 3) that comes right
before it, so it sounds OK.

& # œ œ œ œ œ œ œ œ œ œ.
? # œ œj œ œJ œ j œ .
œ

____________________________________________________________________________
33 - 3
Version 3

This is the same piece as before, except that the A section has been modified so that it ends with
a perfect cadence in the home key. This change makes the piece ternary . The first statement
of A is identical to the 2nd statement of A. In fact, we needn't have written A out a second time.
We could just have written 'da capo al fine' at the end of the B section, as many composers did.
Note the change in labelling. This piece is ABA. The other 2 were AB.

A
&b œ œ œ œ œ #œ œ œ œ œ œ œœœ œ œ œœœ œ
?b Œ ˙. œ ˙. œ œ œ #œ œ œ œ œ Œ

B
& b œ œ œ œ #œ œ œ œ œ œ œ œ œ œ . œj ˙ . œœ œ œ œ œœ
?b ˙ . œ ˙ # œ ˙ ˙ ˙ ˙
Œ ˙. Œ
perfect cadence in home key

&b œ œœœ œ œ œœœ œœ œ œœœ œ œ œœœ œœ œ œœœ œœ

?b ˙ œ œ ˙ ˙ ˙. Œ ˙ ˙ ˙ ˙
A
& b #œ œ œ œ œ œ ˙. œ œ œ œ œ #œ œ œ œ œ œ œœœ œ
?b ˙ ˙. œ ˙. œ œ œ #œ œ
˙ œ œ œ Œ

&b œ œœœ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ . œj ˙ .
?b œ œ œ Œ ˙. œ ˙ ˙
Œ #œ ˙ ˙.

____________________________________________________________________________
34 - 7
MELODY WRITING
 Unit 35 ~ Melody, Part 1
This is the part of this course where you get to be creative. Music is a language and all of us are
capable of speaking it. This means we can all imagine and write down our own simple melodies.
At first you may not know what to write. But you have musical instincts and with time you will
develop these and begin to come up with ideas. Hopefully this will be fun!

Also, note that everything you learn here about writing melodies can and SHOULD be applied
to the soprano parts of your SATB work. I have discussed the alto, tenor and bass parts elsewhere.

Phrases
Music is made up of phrases, and phrases often go in pairs. The first phrase starts on the tonic
and leaves it and often ends on the dominant. The second phrase answers the first one by returning
to the tonic.

For this section of the course we'll work with this 2-phrase question and answer pattern.
In your exercises you will supply answers to questions that I've supplied. If you feel like making up
your own questions too, feel free!

A phrase can be any length (within reason!) but the most common phrase length in music (not
just classical) is four bars:

Phrase 1 goes from the tonic to the dominant ... Mozart, Piano Sonata 11

... and phrase 2 returns to the tonic.

Phrases can also be two bars long, like the traditional clock chime. As in the Mozart example, the
first phrase ends on V and the second phrase returns to the tonic. Notice how in both examples the
melody ends on the tonic note. This is usually the best note to end on:

___________________________________________________________________________
35 - 1
Our first melodies will be two bars long and always end on the tonic note (we will work with 4-bar
phrases later).

They will also always be in 2/4 time or 3/4 time. Always put the last note on the first beat of the
last bar. The best notes to have right before the last note are the leading note or the supertonic.
The mediant is also possible.

When doing your exercises, try not to just write random notes! Create an answer, no matter
how simple, that sounds good to you, either by singing it or playing it on your instrument,
and then write it down.
Here are some examples. Sing or play these (preferably sing!) before doing your own.

___________________________________________________________________________
35 - 2
 Homework for Unit 35 ~ Melody, Part 1
Sing or play the opening phrases, then sing or play an answer. Once you have an answer, write it
down. Don't write random notes! Always end on the tonic, on the first beat of the last bar. These
are all in C major.

& 24 œ œ ˙

&œ œ ˙
&œ œœ ˙

& œœœœ ˙
& œ œ œ œ ˙

& œœœœ ˙
&œ œœ œœœ
Homework for Unit 35 page 1 of 1
 Unit 36 ~ Melody, Part 2

In a melody you can either move by step or by leap. A step is a major or minor 2nd. Moving by step
is always good.

Moving by leap is good too: a voice leaps when it moves up or down by any interval larger than
a second. Leaps add energy and interest to a tune. However sometimes certain leaps or
combinations of leaps are hard to sing or sound bad, so there are some guidelines we need to
follow when moving by leap.

These leaps are good: These leaps are usually not used as
they are too hard to sing:
1. Major and minor 3rds up and down.
2. Perfect 4ths and 5ths up and down. 1. All Augmented intervals.
3. Minor 6ths up and down. 2. Major sevenths
4. Major 6ths up only. 3. Minor sevenths going down.
5. Diminished 5ths, provided that the part 3. Leaps larger than one octave.
return by step inside the 5th (see next page). 4. Major 6ths going down.
6. Octaves. 5. Two steps or leaps in a row in the same
7. Minor sevenths going up direction that create a 7th or go
more than an octave.

These leaps are all good:

Major 3rd Minor 3rd Perfect 4th Perfect 5th

(up or down) (up or down) (up or down) (up or down)

&c ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Minor 6th Major 6th up only Octaves up or down
Minor seventh
(up or down) (going down is too going up only

&˙ ˙
hard to sing)
˙ ˙ ˙ ˙ ˙
˙
___________________________________________________________________________
36 - 1
The following leaps are too hard to sing:

Augmented Major 7ths Minor 7ths Leaping more than

leaps (up or down) (up or down) going down an octave

&˙ ˙ ˙ ˙ ˙ ˙
˙ ˙
Major 6ths going down Two moves (steps or leaps Two leaps that add up to
up or down that add up more than an octave.

& ˙ ˙ œ œ ˙
to a 7th)

œ ˙
œ
After a leap, it's often a good idea to immediately step or leap in the opposite direction. This makes
the tune easier to sing and helps to create an elegant line. The bigger the leap, the more likely you
ar to do this. Here are some examples:

&œ œ ˙ œ
œ ˙ œ œ ˙ œ œ ˙
The notes right before and after an octave leap should be between the two notes of the octave.
The note right after a minor 7th leap up must be a step in the opposite direction (because 7ths
fall by step, remember?)

&œ œ œ
Good:
œ œ œ œ œ ˙ Not so good: 7th falls:

œ œ

___________________________________________________________________________
36 - 2
We must avoid augmented leaps, but diminished 5th leaps are permitted, provided that the part
returns by step inside the inter val. For example, if a part has B up to F, the next note should be E.
If a part goes from F down to B, the next note must be C. Look at the examples:

&˙ ˙ œ œ ˙ œ œ ˙
Avoid OK OK

Try to avoid having the subdominant and the leading note too close together in a melody,
especially if the subdominant is on a strong beat:

&œœœœœ œ œ ˙ œ œ œœ œœœœ˙
F and B on strong F and B OK here
beats: too prominent because F is on a weak
beat

If the melody rises to the the leading note, then we will expect to hear the tonic afterwards

Poor old B doesn't rise!

&œ œ œ œ œ œ œ ˙ œ œ œ œ w
Here are two situations where it's OK for the leading note to not rise to the tonic:

1. When it appears in a 2. When it goes to a different

descending scale passage: note of the V chord:

& œ œ œ œ ˙ œ œ œ œ œ œ ˙
V ________ I

___________________________________________________________________________
36 - 3
 Writing melodies in 3/4

The only special thing I have to say about writing melodies in 3/4 time is that you want to avoid
syncopating the beat, at least for now. Syncopation is an excellent special effect but leave it until
you are more expert.

Basically, syncopation simply means accenting the weak beats in the bar. In 3/4 that would usually
mean accenting the 2nd beat like this:

3
&4 œ ˙ œ ˙
You can think of this as a 1 + 2 grouping.

Instead of a 1 + 2 grouping, use a 2 + 1 grouping, like this. It flows more easily:

3
&4 ˙ œ ˙ œ

Now do exercise set 2, which is in 3/4 time

___________________________________________________________________________
36 - 4
 Homework for Unit 36 ~ Melody, Part 2
Sing or play the opening phrases, then sing or play an answer. Once you have an answer, write it
down. Always end on the tonic on the first beat of the last bar.

3
& 4 œ . œj œ œ œ œ œ œ œ
& b œ œ œ œ œ œ ˙.

& b b b b œ œ œ . j
œ œ œ

& # œ œ œ œœœ œ œ œ

& œœœœœœ œ œ œ œ œ
#
& # ‰ œj œ œ œ œ œ œ œ

&b œ œ œ œ œ œ œ œ œ œ
Homework for Unit 36 page 1 of 1
 Unit 37 ~ Melody, Part 3
When writing a melody you want to try to give it some shape or direction. Melodies like to move!
Avoid what I've done in this next example, which is to stay in a very narrow range all the time and
have far too many Cs:

& c œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
By contrast, the following melodies all have lovely shapes. Many melodies are shaped like an arch -
they slowly rise, and then fall. Figure 2, a hymn tune, has this kind of shape.

#
&#c
fig. 2

œ œ ˙ ˙ œ . œ œ œ ˙ ˙
John Bacchus Dykes

œœ J
# # j
& œ. œ œ œ œ œ œ œ œ œ œ w œ . j

Here's another example of an arch-shaped melody - Christmas carol Once in Royal David's City.

j œ . j
& b c œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
Henry John Gauntlett

___________________________________________________________________________
37 - 1
Here's a melody with a different shape. Each phrase starts high, falls, and then rises again.:

& # c œ œ œ œ œ œ œ j
œ œ œ. œ œ œ ˙ œ œ
#
& œ œ œ œ œ œ œ œ œ œ œ . œj œ œ œ œ œ
Fine melodies often contain a climax, perhaps a high note towards the end. This famous tune is
called 'Londonderry Air' (AKA 'Danny Boy'). It's an Irish folk song. Sing it to yourself or play it
on the piano. Where is the climax?

b c ‰ j œ . j
& œ œ œ œ œ œ œ œ œ œ œ . œj œ œ œ . Jœ œ œ œ œ ˙ œ œ œ œ
b j œ œ j
& œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ
b
& J œ . œ œ œ œ œ œ œ œ œ œ œ . œ
J œ œ œ œ ˙ œ œ œ œ
œ. J
œ . œ œ œ œ œ œ œ œ . œj œ œ œ . œJ œ œ œ œ ˙
&b J
Notice also that almost all of these melodies descend the scale to the final tonic. There is no rule
that says you have to descend the the last note, but it's very common and feels natural, as if one is
sitting down to rest. So a falling melody at the end of a piece is usually satisfying and sounds
complete.

___________________________________________________________________________
37 - 2
Writing in 4/4 time
So far in our melody exercises we have only written tunes in 2/4 and 3/4.

Writing in 4/4 is much the same, except that now you have the option of ending the melody on
either the 1st beat of the last bar, or on the 3rd beat. Actually, ending on the 1st beat can seem
premature sometimes. Compare the first two examples:

#
& œœœœœ œ œ ˙ œ œ œ œ w
This one seems to end a bit 'early', right?

& # œ œ œ œ œ œ œ ˙ œ œ œ œ œ œœ œ œ ˙
Ah yes, that one sounded better! In most cases ending on the 3rd beat will be more satisfying, unless
the melody begins with an upbeat, which we will dicuss later. Here are some more examples:

j
& œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
b

# # j œ
& œ œ œ. œ œ œ œ œ œ œ œ œ œœ œœœœ˙
b b œ œ œ œ œ œ œ
& œœ œ œ œœ œœœ œœ œ œœ œœœœ ˙
b œ
___________________________________________________________________________
37 - 3
 Homework for Unit 37 ~ Melody, Part 3
Sing or play the opening phrases, then sing or play an answer. Once you have an answer, write it
down. Don't write random notes! Always end on the tonic, on the first OR THIRD beat of the
last bar (most likely the third).

Homework for Unit 37 page 1 of 1

 b
& œ œ œ œ œ œœ˙ œ œ œ œ œ œ ˙
?b œ œ œ œ œ œ ˙

b
& bb b b ## œ œ œ œ œ œ ˙
? bbbbb œ œ œ œ œ œ ˙ ##

In this bar the soprano and the bass have exposed octaves. In the space below,
below, explain the rule of
exposed octaves (see unit 27)

#
& # ˙˙ ˙˙
? # # ˙˙ ˙˙

Review 13 - page 2 of 2
 Review 14

Complete all the missing voices.

voices. Also, add the correct time signature to each line (it changes
each line). Indicate the key of each exercise, and show the functional chord symbols and the
scale degrees of the outer voices. Note: there are no non-chord notes in what I have givengiven you.

& ˙ œ 1
œ w 2 2
1
#### œ œ œ œ œ œ ˙
? ˙. œ w #### ˙ œ œ œ œ
8
7 8
˙

&b œ œ œ ˙. ## œ ˙ ˙.
?b ˙ œ ˙. ## ˙ œ ˙.

b b œ œ œ œ œ œ œ œ. œ œœj jœ œ œjœ .
& œœ
? bb œ œ œ œ œ œ œ œ œ œ . œ Jœ œ œJ œ œ œ .
J
Review
Review 14 - page 1 of 2
& b b b œ œ œ œ œ œ œœ œœœ
? bbb œ œ œ œ œ œ œ œ
œœ

& œ œ œ œ œ œ ˙
? œ œ œ œ œ œ ˙

Review 14 - page 2 of 2
 Review 15

In the blank bars on the next page, write these progressions

in 4/4. Use quarter notes.

1. I - V6 - vi in A

2. I - IV6 - I6 in C

3. I - iii - IV in F

4. I - vii6 - I6 in Bb
5. I - V4 - I6 in E b
3
6. I - ii6 - iii6 - I in F

7. I - IV - V 4 - I6 in D
2

8. I - ii4 - V6 - I in G
2

9. I - V - IV 6 - V6 - I in C
5

10. I - IV6 - I in E
4

11. I - ii6 - V - 7 - I in B
5

12. I - IV - I 6 - V - 7 - I in A
4

Play the exercises you have written on the piano. This is very important. Don't skip it!

Review 15 - page 1 of
of 3
 1 2 3 4

&b
?b
5 6 7 8

&b
?b
9 10

&b
?b
11 12
&b
?b

Review 15 - page 2 of 3
Fill in the 3 missing voices and show your chord symbols.

Use the common progressions listed on page one as much as possible.

The fermatas show where the music cadences. Make sure that at these places you have a proper
cadence: imperfect and perfect are the most common, although plagal and deceptive are also
possible. These exercises use perfect and imperfect cadences.

In the first one, use 2 different chords under the D in Bar 2. In other words, beats one and two of
bar 2 should have different chords, and D will belong to both of them.

U U
& b œ œ œ œ ˙ ˙ œ œ œ œ œ œ ˙
?b

# œ U U
& # œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
? ##

Review 15 - page 3 of 3
 Review 16
Name the key, time signature, and fill in the missing voices of the following.

Write the functional chord symbols and the scale degrees of the outer voices. The first is done as
an example:

œœ ˙ œ œ œ œ œ œ œ œ œ ˙
3 4 5

&b ˙ œœ
?b ˙˙ œœ œ ˙ œœ œœ œ œ ˙
1 2 3
œ œ
F+: I V4 I6
3

# .
& œ œœ j œ œ œ # # œ . œ . œ . œ. œ. œ.
? # œ. œ œ œ œ œ ##
J
#
&# bbbb
? ## œ œ œ œ œ œ œ œ œ œ . bbbb œ œ œ œ œ œ ˙

Review 16 - page 1 of 2
 #
& # ˙˙ œœ œœ ˙ œ œ
? ## ˙ œœ œœ
˙
Mistakes (at least 3):

1.

2.

3.

Add the 3 lower voices to this soprano line. Write functional and root/quality chord symbols.

& # œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
?#

Review 17 - page 2 of 2