Rules of harmony

Question 1

Rule 1:

Answer 1

No consecutive 5ths in the same pair of voices. 5th have very strong stability and resistance to forward motion, and are the only interval that can define a triadic root.

Question 2

Rule 2:

Answer 2

No consecutive octaves. When there are octaves in the same two parts one after the other, we call them “consecutive octaves”.

Question 3

Rule 3:

Answer 3

No hidden consecutives. Hidden consecutives happen when:

• The bass and soprano parts form a perfect 5th or octave AND
• The 5th/8ve is approached by similar motion AND
• The soprano part is approached by a leap (not by step).

Question 4

In all voices, leaps of which intervals are not allowed?

Answer 4

7th, aug. 2nds, and aug. 4ths

Question 5

leading notes in dominant chords always resolve to what note?

Answer 5

tonic

Question 6

Always choose what kind of interval if it’s available?

Answer 6

semitone step

Question 7

For vocal melody writing, avoid leaps greater than:

Answer 7

a perfect 5th

Question 8

For vocal melody writing, the best intervals to use are:

Answer 8

2nds and 3rds

Question 9

For vocal melody writing, what can easily become boring?

Answer 9

repeated notes

Question 10

What notes can you double in chords?

Answer 10

• Root position – 1 or 5
• First Inversion – anything goes
• Second inversion – 5
  Watch out for:
• diminished chords (ii° and vii°) – ONLY double the third
• chord VI in minor keys CAN double the third
  Vb – CAN’T double the third

Question 11

Never exceed what interval between soprano, alto and tenor parts?

Answer 11

octave

Question 12

Men’s church range

Answer 12

A to middle C

Question 13

Women’s church range

Answer 13

A to upper C

Question 14

When writing vocal parts, don’t let the parts:

Answer 14

overlap

Question 15

Modulation is usually achieved by…?

Answer 15

A pivot chord, followed by a V-I progression in the new key.

Question 16

What is a pivot chord?

Answer 16

A chord that is found in both the old and new key. It is a stepping stone to reach the new key area.

Question 17

How can you confirm a new key area when modulating?

Answer 17

Use a V-I cadence which will redefine the leading note-tonic relationship.

Question 18

When modulating, make sure your melody includes what?

Answer 18

notes which are unique to the new key and not present in the old one.

Question 19

How do you find pivot chords?

Answer 19

1. Write the letter names of the scale in the original key
2. write the letter names of the new key underneath, starting at the same point (matching the letter names).
3. Cross out any letter names that don’t match (G and G#)
4. Determine pivot chords from the notes remaining.

Question 20

Cadence?

Answer 20

special kinds of progression which are used to signify that a piece, or section/phrase of a piece, has come to an end.

Question 21

3 Basic cadences?

Answer 21

V - I: “perfect” cadence

IV - I: “plagal” cadence (Amen)

? - V: “imperfect” cadence

Question 22

Spacing - adjectent upper voices should not be more than how far apart?

Answer 22

octave

Question 23

What are open and closed position?

Answer 23

closed is when the three upper voices are as close together as possible - no additional chord tone can be inserted between adjacent voices.

Question 24

What is the difference between chord construction and voice leading?

Answer 24

Chord construction is about how to put together vertical sonorities while voice leading is about the linear movement of each voice and their sense of progression.

Question 25

What is step-wise motion in a melody called?

Answer 25

conjunct

Question 26

What is skip-wise motion called?

Answer 26

disjunct

Question 27

In 4 part writing, traditionally, what are the roles of the three parts?

Answer 27

Bass - to regulate harmonic motion; Soprano - to sing the melody as it is the most exposed and prominent line; inner parts - to complete the harmonies.

Question 28

What is Parallel motion of voices

Answer 28

Both voices move in the same direction and maintain the same numerical interval

Question 29

What is similar motion of voices?

Answer 29

both voices move in the same direction but the interval between them changes

Question 30

What is oblique motion of voices?

Answer 30

One voice remains stationary while the other moves.

Question 31

What is contrary motion of voices?

Answer 31

Both voices move in opposite directions.

Question 32

What should be avoided in voice crossings?

Answer 32

Do it briefly, and don’t cross over the soprano or bass line as it may obscure it.

Question 33

Overlapping, what about it?

Answer 33

When one voice moves into the position formerly held by another voice, which can be confusing in 4-part writing and should be avoided.