MUS227: Music Theory III

Dr. Mark Jurcisin

Guidelines for Doubling

Voice doubling in major and minor triads: 1) 2) 3) 4) If the root is in the bass, double the root. If the triad is in first inversion, double the soprano voice. If the triad is in second inversion, double the bass voice. The exception: a minor triad, root or third in the bass: the third of a minor triad is often doubled, especially when this third is the tonic, subdominant, or dominant tone of the key.

Voice doubling in diminished triads (usually found in first inversion only): 1) Double the third. 2) When the fifth is in the soprano, the fifth is usually doubled Voice doubling in seventh chords: 1) Normal part-writing: all four voices are present 2) In the major-minor (dominant) seventh chord, the root may be doubled and the fifth omitted. In other triads: 1) Double the bass in augmented triads. 2) With altered triads, follow same doubling guidelines as non-altered triads; avoid doubling the altered pitch.

Guidelines for Voice Leading

When the bass tones of two successive triads are the roots of the triads and the triad roots are repeated: Both triads may be written in the same position (open vs. closed) or each may be in a different position. Change triad positions a) When necessary to keep voices in correct pitch range b) When necessary to keep correct voice distribution (two roots, one third, and one fifth). c) To avoid large leaps in an inner part. and the triad roots are a fifth apart: 1) Retain the common tone and move the other voices stepwise. 2) Move the three upper voices in similar motion to the nearest tones of the next triad. 3) a) Move the third of the first triad up or down the interval of a fourth (to the third of the second triad), b) Hold the common tone, and c) Move the other voice by a step. 4) Exception: At the cadence, the root of the final tonic triad may be tripled, omitting the fifth. and the triad roots are a second apart: The three upper voices move in contrary motion to the bass. and the triad roots are a third apart: 1) Hold the two common tones; the other voice move stepwise. 2) If the soprano voice moves by leap, the second triad may be in either open or closed position. When it is impossible or not desirable to follow normal voice leading guidelines for triads with roots in the bass: Double the third in the second of the two triads. BUT:

If this third is a leading tone or any altered tone, double the third in the first of the two triads. When progressing to or from a triad in inversion, a triad with a doubled third, or a triad with an unusual doubling: *Write the two voices moving to or from the doubled tone first, using oblique or contrary motion when possible. When first inversions of triads are found in succession each triad must have a different doubling to avoid parallel octaves. OR the same doubling may appear in different pairs of voices. Avoid doubling the leading tone or any altered tone. Approach and resolve each doubled tone as per the previous guideline (labeled *, above).

Triad position may be changed 1) At a repeated triad. 2) When triad roots are a fifth apart and the third of the first triad is moved up or down a fourth to the third of the second triad. 3) At a triad in inversion or one with unusual doubling. Non-harmonic tones in voice leading: The non-harmonic tone temporarily replaces a harmonic tone. 1) Write the triad with normal doubling if possible and substitute the nonharmonic tone for one of the chord tones. 2) Approach and resolve the non-harmonic tone according to the type of nonharmonic tone being used (appoggiatura, upper neighbor, passing tone, etc.). Voice leading seventh chords: The seventh of the chord, its notes of approach and or resolution comprise a threenote figure similar to specific types of non-harmonic tone figures (appoggiatura, suspension, upper neighbor, passing tone). The seventh usually resolves down a step.

Voice leading altered chords: There is no difference between part-writing with altered or diatonic chords. Do not double the altered tone, or avoid its doubling when first inversions of triad are found in succession. General Guideline for Voice leading In situations not covered by any of the above voice leading guidelines: 1) Move each voice the shortest distance possible. 2) Move the soprano and bass in contrary or oblique motion if possible. 3) Avoid doubling the leading tone, any altered note, any non-harmonic tone, or the seventh of a seventh chord. 4) Avoid parallel fifths, parallel octaves, and the melodic interval of the augmented 2nd.