Four-Part Writing: Linking Primary Triads (Harmony I.04)
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TRANSCRIPT & SLIDES
We now consider technical ways to link the Major Key “trio” of Primary Triads, in four-parts. Have in mind the Ranges of the four voices, the Rules for Doubling discussed earlier, and …
… remember that the level of difficulty is a four-part mixed chorus (SATB), consisting of male and female singers (and possibly children). What do you think of this tune? Some might have trouble singing that, because of the large leaps and dissonant intervals.
The Roman numerals I and V show that the roots of the tonic and dominant triads are a fifth apart [P5]. Placed side by side like this, we can see that SOL or G is a common tone to both chords. Can we make use of this connection?
Rule Three In a four-voice texture, we take advantage of this relationship by retaining the common tone in the same voice. In this example, the Alto voice retains the SOL or G note in both chords, so the written code sounds like this.
Rule 2A Applying the Rule to double the root of chords, observe that the Bass assertively jumps up a perfect fifth. In the process the bass also doubles the same note retained by the Alto, who no doubt enjoys his company.
This example shows that Rule Three actually has two parts [Rule 3B]: The remaining voices - in this case, Soprano and Tenor - move stepwise to the nearest notes of the next chord, up or down the scale. Not difficult.
The four voices together sound something like this. Smooth. It is almost as easy as DO, RE, MI.
Summarizing the combined application of Rules One, Two, and Three with voices at various pitch levels: Listen! So much for the Tonic/Dominant [I-V] connection.
The other chord relationship to examine today is Tonic to Subdominant. What do the Roman numerals tell us? Placed side by side, we see that the I and IV triads are a fifth apart [P5], and that DO or C is the common tone to both chords. How can we use this?
Rule Three Applied to the four-voice texture, our retaining the common tone in the same voice means that the DO or C stays in the Soprano part for both chords. The written code sounds something like this.
The bass is satisfied with leaping to the root of the IV chord, DO-FA or C-F. In this case, the bass leaps up a fourth [P4]. The bass could also descend a fifth, to the low F, IF your basses are able to sing that low.
Rule 3B requires the two remaining voices to move to the nearest tones of the next chord. In this case, Alto and Tenor move up a step.
See the result of applying all Three Rules to the Tonic-Subdominant relationship at various pitch levels. It is a given that, regardless of which chord comes first, I or IV, the same Rules apply.
Re: this “trio of triads,” here is a Tally of the Voice Leading Rules [1-3b] for writing them in a four-voice texture. So far. …
We still need to look at the complex relationship of the Subdominant and Dominant triads - the IV and V chords - to each other, and as necessary come up with additional “coding” rules.
That said, be sure to Subscribe to the channel for the update [Follow, Upvote, Resteem!]. Go through the channel Playlists, do lots of listening, and share the link!…
Food for thought: …
Original Copyright © Mark Priest 2016; revised slides for Steemit 2018
LINKS & PLAYLISTS
PRECEDING VIDEO – Triads with Four Notes:
https://d.tube/v/monadnock/k3oin3of
Elements of Music Playlist: https://www.youtube.com/playlist?list=PLr9RYCj11MSycDV5jr07-Sl60ymZyadET
Music Fundamentals Playlist: https://www.youtube.com/playlist?list=PLr9RYCj11MSxs91JeTfDvKtilJnOWw6JP
Harmony in Music I Playlist: https://www.youtube.com/playlist?list=PLr9RYCj11MSwV82yI5x6SbNxmG9CMhfOv
Piano Beginnings Playlist: https://www.youtube.com/playlist?list=PLr9RYCj11MSxPncb7aKgf90hnckKuiEhb
PIANO-KEYBOARD HARMONY – Transposing Down by a 5th (VIDEO):
https://d.tube/v/monadnock/nkds3sir
IMAGE CREDITS
Choir - Mike Prince, 1001 Nights at Mallya Aditi International School: https://flic.kr/p/qtbgYw
Creative Commons License: https://creativecommons.org/licenses/by-sa/2.0/legalcode
USEFUL REFERENCE
Jadassohn, Dr. Salomon. Manual of Harmony, translated from the German by Paul Torek. Breitkopf and Hartel, 1890. A Public Domain work.
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