![]() ![]() Now we can connect the I chord to the ii chord. Check for doubling and spacing errors before moving on. Next, we want to build the first chord using generous spacing between voices while keeping voices in their respective ranges. Step 1 is to write out the notes in each chord with the proper doubling. We are in the key of D major and will be connecting I to ii. The second example connects chords that have no common tones. Once the chords are complete, remember to always check for part writing errors. To complete the chord progression, find the smoothest, most stepwise connection between each pitch and the same voice in the next chord. ![]() The next part writing step is to find any common tones between chords and write them in. Check for spacing and double errors before moving on.Ĭommon tones help to create smooth connections between chords. Remember that the bass voice has the most flexibility to move, so you can change the octave of the pitches if needed in order to avoid errors. We want the soprano to move as stepwise as possible, so plan to use a soprano pitch that will be able to move by step to the next chord. Remember to work within the range of each voice outlined in the guidelines for voicing chords in four voices. Choose pitches that create a more open spacing between notes in order to allow freedom to move without voice crossing or overlap. Next, find a good spacing for the first chord. Make sure to raise the leading tone in the V chord. First, write the notes possible in each chord with the correct doubling. In this first example, we will be part writing a i-V progression in a minor key using common tones. A summary of the part writing steps outlined in the examples is included at the end of the examples section. ![]() Now that we are familiar with root position part writing guidelines, let’s look at some part writing examples. 10.2 Part Writing, Root Position Triads and Suspensions: Theory exercises ![]()
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