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201

Four-part writing plus melody

Arranging for two to five parts

W O R K B O O K

from the

Copyright © 1995 Sting MusikAll rights reserved

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202

Contents – Literature

How do you work using ‘Learn from the Masters – Classical Harmony’ as a parallel reference?

The contents of ‘Learn from the Masters – Arranging for two to five parts’ are meant to work together with the book ‘Learn from the Masters – Classical Harmony’, and the sections in both books may be used alternately (as well as together) in the following way:

Classical Harmony Arranging for two to five parts

➀ Primary triads in major and minor ➁ Melody

➂ Two-part writing ➃ More chords in a major key

➄ Chord inversions ➄ Bass parts

(both books treat partly the same subject matter, see below)

➅ Three-part writing

➆ More chords in a minor key

➇ Four-part writing plus melody

➈ Four-part writing

If you choose to work with both books you will discover that some sections treat the same elements, although with a slightly different focus. The books are designed to function indepen-dently, ie either of them can be read without a reference to the other. As a result, some pages in the text parts and exercise parts appear in both books.

The following pages/exercises are similar or almost similar:

Classical Harmony Arranging for two to five partsPage Page12–13 70–73

16–17 24–27, 70–71

20–21 14–15

44 40–43

46–51 42–43

52–53 72–73, 50–51

303–304 205–206

309 208

340 (Exercise 4) 229 (Exercise 1)

341 249

343–344 229, 233


362 (Exercise 27a) 253 (Exercise 6d)

389 (Exercise 15a) 259 (Exercise 12b)

407 (Exercise 13b) 268 (Exercise 6)


431 (Exercise 9) 259 (Exercise 12a)

203


238 AS FESTIVE A COMELY SHEPHERDESS 209 BRAHMS' LULLABY 274 BUNDESLIED210, 276 THE CHAMBERLAIN IS NOw OUR SqUIRE290 CONCERNING HIS FAIR ONE AND HER FICKLENESS 210 ECOSSAISE NO 2246 GREENSLEEVES 280 HOME-SICKNESS 231 I KNOw OF A LOVELY ROSE226 LITTLE KARIN237, 294 MINORE

235 MINUET234 MUSETTE216 NOw THE SUN GLEAMS IN THE SKY 257, 223 SINFONIA CONCERTANTE 207 SKIP TO MY LOU271 VARIATIONS ON A ROKOKO THEME265 VARIATIONS ON A THEME BY JOSEPH HAYDN 224 wALTZ 222 wE SHALL OVERCOME287 wHO CAN SAIL wITHOUT wIND264 wISH SONG

Harmony:

BEITRAG ZUR DURMOLLTONALEN HARMONIELEHRE (1975), wilhelm MalerCONTEMPORARY HARMONY (1994), Ludmila UlehlaHARMONIELEHRE (1976), Diether de la MotteFEREINFACHTE HARMONIELEHRE (1893), Hugo RiemannHANDBUCH DER HARMONIELEHRE (1944), Hermann GrabnerHANDBUCH DER HARMONIELEHRE (1880), Hugo RiemannHARMONIELEHRE (1932), Rudolf Louis, Ludwig ThuilleHARMONIELEHRE (THEORY OF HARMONY) (1911), Arnold Schoenberg HARMONY (1941), walter PistonHARMONY (1906/1954), Heinrich SchenkerHARMONY & VOICE LEADING (2003), Edward Aldwell, Carl SchachterLEHRBUCH DER HARMONIE (1853), Ernst Friedrich Richter LEARN FROM THE MASTERS – CLASSICAL HARMONY (2010), Sten IngelfMODERN HARMONIC TECHNIqUE (1965), Gordon DelamontSTRUCTURAL FUNCTIONS OF HARMONY (1954), Arnold SchoenbergTHEORY AND ANALYSIS (2005), Jane Piper Clendinning, Elizabeth west MarvinTONAL HARMONY (2004), Stefan Kostka, Dorothy PayneTRADITIONAL HARMONY (1943), Paul HindemithTRAITÉ DE L’HARMONIE (1722), Jean-Philippe RameauTwENTIETH-CENTURY HARMONY (1961), Vincent PersichettiVERSUCH EINER GEORDNETEN THEORIE DER TONSETZKUNST (1824), Gottfried weber

Schenkerian analysis:

DER FREIE SATZ (FREE COMPOSITION) (1935), Heinrich Schenker FÜNF URLINIE-TAFELN (FIVE GRAPHIC MUSIC ANALYSES) (1969), Heinrich SchenkerINTRODUCTION TO SCHENKERIAN ANALYSIS (1982), Allen Forte, Steven E. Gilbert STRUCTURAL HEARING (1952), Felix Salzer

Counterpoint:

COUNTERPOINT (1968), walter PistonKONTRAPUNKT (1981), Diether de la MotteKONTRAPUNKT - VOKALPOLYFONI (1929), Knud JeppesenTwENTIETH CENTURY COUNTERPOINT (1954), Humphrey Searle

Orchestration:

GRAND TRAITÉ D´INSTRUMENTATION ET D´ORCHESTRATION MODERNES (1843), Hector BerliozINSTRUMENTATION/ORCHESTRATION (1997), Alfred BlatterLEHRBUCH DER INSTRUMENTATION (1959), Hermann ErpfORCHESTRATION (1969), walter PistonPRINCIPLES OF ORCHESTRATION (1922), Nikolay Rimsky-KorsakovTHE STUDY OF ORCHESTRATION (1989), Samuel Adler

Literature

Alphabetical index of workbook melodies

Contents

204

Study method

The textbook has generally been designed with a steadily increasing level of dif-ficulty, although sometimes advanced as well as simpler techniques can be found side by side. For this reason, it may be easier to follow the order of exercises in this workbook, which has a more even progression. You will find references to the relevant textbook pages at the bottom of each page of the workbook.

As two-part, three-part and four-part writing exercises are mixed in Chapter 7 you may, as an alternative, choose to work on those that deal with two-part writing directly after completing the chapter on two-part writing. (This applies equally for three and four-part writing).

For those lacking rudimentary knowledge of spacing and voice-leading of triads and seventh chords with the root in the bass, there is a section providing preparatory exercises (Exercises 1–5) which begin on the next page. This know-ledge is essential when working on on Chapter 1.

You will find it very beneficial to have access to a piano or other harmonic instrument when you are working through the book. Being able to hear what you write is an important prerequisite for you in order to gain valuable knowledge of how written music sounds. This is how you can develop your inner ear.

Certain topics, such as becoming familiar with common chord progressions, including cadences and common voice leading patterns, are best carried out at the piano. This will require a little persistence, especially for those who have not previously played the piano. This practical application will result in greater knowledge retention, as more memory centres are activated. In addition to this, you will also be practising your ability to accompany on the piano, which will improve your aural harmonic perception. If you are a beginner on the piano, it is important to note that you may play the exercises as slowly as you like.

205


Text book: pages 72–73

Preparatory exercises

The following exercises are designed for you to practise writing triads and 7th chords in four-part harmony using close position, as described below and on p 73, Ex 1, 4 and 5.

Triads with the root in the bass:

• Addthetwomissingnotesdirectlyunderthetopvoice,sothattheupperthreenotes form a complete triad in close position; see bar 1.

Seventh chords including all four notes, with the root in the bass:

• Addthetwomissingnotesdirectlyunderthetopvoice,inordertoformacomplete 7th chord together with the bass note; see bar 1.

Seventh chords with the 5th omitted and the root of the chord in the bass:

• Addthetwomissingnotesdirectlyunderthetopvoice,sothattheupperthreenotes form a dominant 7th chord with the 5th omitted; see bar 1.

1

G7 no 5th

b

a

c

206


Resolution of the dominant seventh chord

Complete the inner voices in four-part writing using ‘least possible movement’.

• Thefirstexampleshowshowthedominant 7th chord with the 5th omitted can be used, with the leading notes resolving as described on p 71, eg 2; see also bar 1 in eg a and b below.

With the tonic in 3rd position* (ie the 3rd in the melody):

In addition, write these progressions in C, D and B minor.

With the tonic in octave position (ie the root in the melody):

In addition, write these progressions in F, G, E, A minor and A major.

Practise playing the above cadences on the piano. It would be an advantage to be able to play them without looking at the music.

G7 no 5th

2

* see eg 5 on p 71.

b

a

207


Voice-leading in the accompaniment

write an arrangement for song with piano accompaniment.

• Leadthevoicesusing‘leastpossiblemovement’andresolvetheleadingnotesas practised in Exercise 2.

• Useonlytherootofeachchordinthebass.*

SKIP TO MY LOUTraditional

Other melodies suitable for further training in the areas treated above: Alouette (French/Canadian children's song) He´s Got the whole world in His Hand (Traditional) Come Back Liza (L. Burgess/w. Attaway) Joshua fit de battle ob Jerico (American Negro Spiritual)

3


* for an enhanced bass 1-5(-1-5) may be used in the tonic chord and 5-1(5-1) in the dominant chord; see p 43, Ex 5.

&

&

?

#

#

#

#

#

#

c

c

c

˙˙

Lou, Lou,

œ œ œ˙

skip to my Lou,

˙˙

Lou, Lou,

œ œ œ˙

skip to my Lou,

&

&

?

#

#

#

#

#

#

5

˙˙

Lou, Lou,

œ œ œ˙

skip to my Lou,

œ œ œ œ œ

skip to my Lou my

˙ ˙

dar - ling.

208


.

write a chordal background for each progression below by completing the authentic cadences using voice leading with ‘least possible movement’.Use the first example as a model and follow the voice leading of V7–I as described in exercise 2 ie using a dominant 7th chord with the 5th omitted.

With the tonic in 3rd position (ie the 3rd in the melody):


With the tonic in octave position (ie the root in the melody):

In addition, write these progressions in F, G, E, A minor and A major.

With the tonic in 5th position (ie the 5th in the melody):


Practise playing the cadences above on the piano. It would be an advantage to be able to play them without looking at the music. You can develop this skill further by playing them in all keys.

Authentic cadence – voicing

G7 no 5th

4

b

a

c

209


Least possible movement


write an arrangement for voice with string quartet accompaniment to ‘Brahms' Lullaby’ or one of the melodies in the list of ‘Other suitable melodies’ below. • Letachordalbackgroundwith‘leastpossiblemovement’formthebasisfor

the accompaniment in the manner described on p 69, Ex 2.

• Usethevoice-leadingyouhavepractisedinExercise4andletthebasspartplay the root of each chord.

BRAHMS' LULLABYJ. Brahms

Other suitable melodies:

Bei mir bist Du schön (S. Secunda/J. Jacobs) An den Mond (Traditional) J. S. Bach: The Chamberlain is now our Squire, p 276

5

&

&

?

4

3

4

3

4

3

œ œ

Lul - la -

Œ

Œ

˙œ œ

by and good -

C

˙œ

œ

night, with

œ œ œ

ros - es be -

œ œ

œ œ

dight, with

G7

œœ œ œ

li - lies be -

&

&

?

.

.

.

.

.

.

˙œ

œ

spread is

œ œ œœ

ba - by's wee

˙

œ œ

bed; Lay thee

C

˙œ

œ

down now and

F

˙œ

œ

rest, may thy

C

&

&

?

.

.

.

.

.

.

1

œ œ œ

slum - ber be

G7

˙

œ œ

blessed. Lay thee

C

2

œ œ œ

slum - ber be

G7

˙

blessed.

C

210


Chapter 1Analyse the melodies below with regards to the following issues:

• Identifytheformofthemelody.Writeaformsketchofthesections,egAB.Ifthesectionsaresimilarbutdifferslightly,writeegA A1.

• Howmanybarsdoeseachsectionconsistof?

• Howlongarethephrases?

• Doesoneorseveralhighpointsappearandinwhichsection(s)arethesefound?

• Circlethenotesthatformthefirstmotiveineachexample.

1

Schubert:AchtEcossaisen,No2

J.S.Bach:TheChamberlainIsNowOurSquire, Cantata212,No2(Aria)

211

Melody • 1


Indicatethefirstfourphrases(egabab)intheAsectionofSchubertslied‘DieForelle’.2

Whichprincipleisappliedintheanswerofthefirstphraseinthefollowingwell-knownexcerpts(seeEx2onp11)?

➀ repetition or sequence➁ motivic answer, ie similarity instead of strict sequencing➂ inversion of the motive➃ the rhythm is repeated in the answer (generally), while the melody is ‘new’➄ significant contrast, ie the answer has very little in common with the 1st phrase

Mozart:TheMagicFlute,MarchofthePriests

Mozart:PianoSonatainAmajor(KV331)

J.S.Bach:MinuetGmajor

Haydn:SymphonyNo100,IV

212


Phrase construction

3 Composemelodicphrasesusingthechordprogressionsbelowintraditionalstyle.Eachexerciseshouldincludetwophraseswhicharecomposedaccordingtotheprinciplesforthatexercise(a–e).

Example:

Imaginetheseasopeningphrasesofamelody,ietheformdoesn'tneedtofeelcomplete.

a Writethesecondphraseasasequencefromthefirst(eg‘Nonpiùandrai’,p11).

withorwithoutanupbeat:

2/4 time: F | Gm | C7 | F |

b Shapethetwophrasesasaquestion/answer.Basethesecondphraseontherhythmofthefirstphrase,butwithadifferentmelodicline.Therhythmmaybealteredattheendofthephrase(eg‘Auclairdelalune’,p11or‘TwinkleTwinkleLittleStar’).


4/4 time: D G | D | Em A7 | D |

2/4 time: F C7 | F | Bb

F | C |

c Shapethesecondphraseusingthemotiveofthefirstphrase,whichmayconsistoftwoormorenotes.Thetwophrasesshouldworkasaquestion/answer withoutformingsequences.Amelodicleapinthemotivemay be madelarger/smallerintheanswer,egadescendingthirdmaybeansweredbyadescendingtritone(aswithGluck:‘Musette’onp11).


3/4 time: G | Am | D7 | G |

2/4 time: Dm | A7 | A7/C#

| Dm |

213

Melody • 1

d Composetheanswerusinganinversionofthemotive,whichmayconsistoftwoormorenotes(eg‘TheChamberlainIsNowOurSquire’,p11).

withorwithoutupbeat:

3/4 time: G | D7/F#

| D7 | G |

e Shapethesecondphraseasananswercontrastingbothrhythmicallyandmelodically(eg‘DieForelle’,p11).

Makeoneofthephrasessomewhatmoreactivethantheother.


2/4 time: Am E7 | Am | Am/E E7 | Am |

UsethesecondmelodyyoucomposedinExercise3btoshapeamelodyinABAform.Thechordprogressionfortheentiremelodyisgivenbelow.Feelfreetomakechangesinthechordprogressionprovided.

2/4 time: F C7 | F | Bb

F | C |

F C7 | F | Gm C7 | F |

D7 | Gm | C7 | F |

F C7 | F | Gm C7 | F |

A section FormthephrasesintheAsectionaccordingtooneofthefollowing alternatives:

either a b a b1

or a b a c

B-section YoucanmakecontrastintheBsectionby‘raisingthemelody’(egJ.S.Bach:‘TheChamberlainIsNowOurSquire’,p210).Useeitheravariationonamotivefromthe1stphrase,orbuildaphrasewhichatfirstcontrastsrhythmically/melodicallybutattheendreferstothe1stphrase(‘ItsyBitsySpider’;seep11,Ex3).


4

214

Determinewhatkindsofnonharmonicnotes(marked)occurinthesongbelow.Indicatewithanabbreviation,egp,n,r,e,ant,sandapp;seep15.

Traditional

Composemelodies,withorwithoutsongtext,whereyouworkmorefreelythanintheearlierexercises.Youmayusetheknowledgegainedwhenyouencounterdifficultiesinproceeding,egfindingthestartoftheBsection.Anotherwaytouseyourskillsistocorrectafterwardswhatdoesn’tsoundgood,egbychecking:

• thathighpoint(s)don'toccurtoooften

• that there exists a consistent idea throughout themelody, ie sufficientrepetitionofmotives/rhythms

• thatthefundamentalmelodicstructure(seep12)formsalinemovingbystepeverynowandthen

Inordertogaininspirationforcomposingmelodiesyoucan:

• baseyourmelodyonatext

• shape themelody using a chord progression from an already existingmelody

• usetherhythmofananothermelody(whollyorpartially)foryourownmelody

Thoughaverylargepercentageofourmelodiesarebuiltontheformulaede-scribedinthechapteronmelodicconstruction,thereiseveryreasontopursueoriginality.

Nonharmonic notes

6

5


& b 42 jœ

Dm

œ . œ œ œA7

œ œ# œ Dmœ œC7

œ œF

œ ‰ jœ

& b ..Gm

œ œ œDm

œ œ œ . œA7

œ . œDm

œ œ ‰C7

jœ

& bF

œ . œ œ œC

œ œ œ œDm

œ . œ œ œosv.

A

œ ‰

215

Two-parT wriTing • 2

Practise using thirds or sixths in parallel motion in the exercise below, as shown in the first bar. The exercise consists of ‘phrases’ which are 1-2 bars long. Each ‘phrase’ can be made in parallel motion either in thirds or sixths (in some cases, both alternatives can be applied).

SuggestionOne method is to first try eg thirds in par-allel motion. If the second voice doesn't fit the chord given, try sixths in parallel motion instead.

Add a lower voice in parallel motion that goes with the chord progression given. Notice that one phrase can have parallel thirds, while the other has parallel sixths.

Compose two-part writing using parallel motion:

&F

˙ ˙

Am

˙ ˙Bb

˙ ˙G

˙ ˙D7

˙ ˙#G7

˙ ˙

&C

œ œ œEm

œ œ# œE7

œ œ œDm

œ œ œA7

œ œ œ


1

2

&

& b b cBb

œ . œ œ.

œ. F7/B b

œ.

œ. Bb

œ.

Œ Œ œ . œ œ.

œ. F7/Bb

œ.

œ. Bb

œ.

Œ ÓMozart: Divertimento No 14

Chapter2

216

Write a second part to the melody below. Imagine for example an arrangement for two trumpets.

• Useonly thirds and sixths in parallel motion. Refer to the chords to determine the right alternative.

• Thefirstnoteofthescale(DabovemiddleC)shouldbeplayedinunisoninorder for the second part to fit the chord.

Traditional

Write an arrangement of the melody below eg for two horns, with or without accompaniment.

• Useonly thirds and sixths in parallel motion. Notice that one phrase can be in parallel thirds, while another can be in parallel sixths (the interval of the unison can be used when required). Refer to the chords to determine the right alternative.

NOW THE SUN GLEAMS IN THE SKYC.M. Bellman: Epistle No 48.

&# # 42

jœ.

D

œ. œ. œ. œ. simile

G

œ œD

œ œA7

œ œD

œ œA7

œ œD

œ œ

&# #

D

œ œ œ œG

œ œ œ œD

œ œA7

œ œ œD

œ

&# #

D

œ œ œ œG

œ œ œA7

œ œD

œA7

œ œD

œ

&# #

D

œ œ œ œG

œ œD

œA7

œ œD

œ œA7

œ œD

œ

&#

42 .. ..G

œ . œ œ. œ.

C

œ. œ.

G

œEm

œ . œAm

œ œ œ. œ.D7

œ-Gjœ ‰

&# D7

œ œ œ œ œ œ œ œ œ œ œD

œA7

œD

œ

&# G

œ . œ œ. œ.

C

œ. œ.

G

œEm

œ . œAm

œ œ œ. œ.D7

œ-Gjœ ‰

3

4


Parallel motion

217


Even though it is important to derive the second voice mostly from chord notes, it should not lead to an overly theoretical manner of writing. Parallel motion often works as long as it ends ‘right’. One good method is to work ‘backwards’ in the phrase:

Hints

Check if the result works by playing the phrase together with the chords.

Write a second voice in parallel motion using the technique above:

Write an arrangement for two parts with accompaniment where you add a part in parallel motion in the B section as a contrast; see p 21, Ex 1.

&

G7

œ œ œœ œ œ

C

˙ .˙ .&

G7

œ œ œ 6

C

˙ .˙ .

➛ ➛➛

& b .œF

œ œ œ œ œ œGm C7

.œ .œF

&#

D7

œ œ œ œG

˙


5

6

Begin by adding a voice at the third or sixth to the last note of the phrase:

Then, work ‘backwards’ in parallel motion from the cho-sen interval:

218

Consonance and dissonance

Add a ‘second voice’ under each of the notes provided below. The added note should fit the chord provided and form an interval of the third or sixth with the ‘melody note’, as illustrated in the 1st bar of the exercise:

Write a lower voice to the ‘phrases’ below.Use the technique of holding orrepeating one of the leading notes in a dominant seventh chord, ie the third or seventh (see p 27, Ex 1 and 2).

HintsThe examples below illustrate how you can test the two leading note alternatives and their resolutions. Then choose the leading note best suited to the context:

As indicated in the examples the first one sounds best, while the second is less interesting on account of the second voice doubling the melody at the octave. The leading note can either remain or repeat while the melody moves.


&D

ww#Bb

wbAm

wF

wEm

wCm

w

&G

wEb

wbAw Dm

wAm

wGm

w

&7 ➛

G7

œ œ œ˙ .3

C

˙ .˙ .

8

7

&

3 ➛

G7

œ œ œ˙ .

1

C

˙ .˙ .

&D7

˙#G

˙

F7

˙B b

˙bBb7

˙E b

˙bC7

˙bF

˙A7

˙Dm

˙

&E7

œ œAm

˙D7

œ œGm

˙bA7

œ œ#D

˙H7

œ œ#Em

˙

&F7

œ œ œB b

˙ .bD7

œ œ œ#G

˙ .A7

œb œ œDm

˙ .

B7

219


Write a second part for oboe which mainly follows the rhythm of the melody to the Haydn excerpt below.

• Play/singandlistenthroughthesecondparttoensureitismelodicallyshaped.

• Usethechordswhencreatingthepart.

HintsIt's wise to first examine the harmony and find the leading notes in the dominant seventh chords, ie the thirds or sevenths, and then choose the leading note best suited to the melody and notate its resolution:

It is important to regard the second part at these places as one possible solution. At some places it may be preferable with an ‘ordinary’ third/sixth part in parallel motion.

Haydn: Symphony No 55, IV

9

& b 42F

œ œ œGm

˙C7

œ œœF

œ œœA7

œ œ œœ#

Dm

œG7

œ œœ œn

C7

œ œ œœ .Jœ

F

˙➛ ➛➛

➛

&b

b

b 4

2

j

œ

‰

Ob.1&2˙

Eb

˙

Bb7

.œ œ œ

Eb

œ

‰

j

œ

Œ

Bb

&b

b

b..

.

.

˙

Eb

˙

F7 Bb

j˚

œ

j

œ œ

j

œ

Cm/Eb Bb/F F7

œ ‰

Bb

j

œ

‰

&b

b

b

˙

Bb7

˙

Eb

˙

Bb7

œ

‰

j

œ

Œ

Eb

&b

b

b..

˙b

Eb7

.œ

j

œ

Ab

j˚

œ

j

œ œ

j

œ

Fm/Ab Eb/Bb Bb7

œ

‰

Eb


220

11

Usetheintervalofthefifthatthepassingnoteontheseconddegreeofthescale,so that the interval progression 6–5–3 or the opposite 3–5–6 is formed (horn fifths). See the first example below, as well as Ex 5 on p 27.

Write a second part to the melody below, or alternatively your own composi-tion, based on horn fifths. Make your arrangement for two horns without ac-companiment.

• Usethetechniquedescribedaboveinbars2–3(hornfifths).

• Trythecommonapproachofusingtheintervalofthefifthatthehalfcadence;see p 25.

J. H. Roman: Music for a Royal Wedding , XI

Horn fifths

10

&6

C

˙5

œœ3

˙ ..

&# #

D

˙ œ ˙ .

& b bBb

˙ œ ˙ .

&Am

˙ œ ˙ .

passing note on the second degree

&#

43G

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&# ..

G

œ œ œ œ œ œ œ œ œC

œ œAm

œ œG/D

œD

˙


221


Practise the treatment of nonharmonic notes in the alternative methods described on p 27, Ex 4. The choice of note at the resolution point should fit the chord. When moving in parallel motion, the voices should be at the intervals of the third or sixth.

A good method is to add the second voice at the resolution note first and then work backwards with one of the alternative methods illustrated below:

Write two versions according to the two alternative solutions described above, and then choose the one you think sounds best:

Version 1:

Version 2:

Version 1:

Version 2:

&C

œ œœ

&# œœ œœ

E7

œœ# œœ œœ œœAm

œ ˙ œœ œœD7

œœ œœ œœ œœG

œ ˙

&# œœ œœ

E7

œœ# œœ œœ œœAm

œ ˙ œœ œœD7

œœ œœ œœ œœG

œ ˙

Treatment of nonharmonic notes

& b b 43Bb

œœ œœ œœF7

œ œ ˙ œœ œœ œœBb

œ ˙

& b b 43Bb

œœ œœ œœF7

œ œ ˙ œœ œœ œœBb

œ ˙


&C

œ œœ œ

C

œ œœ œ

➛

or:

➛

12

From ‘Santa Lucia’

222

13 Write an arrangement of the following melody, eg for two clarinets accompanied by guitar. The second part may mainly follow the rhythm of the melody. The guitar plays using the chord symbols provided and therefore doesn't require specific notation. Study the range of the clarinet on p 136.

• Beginbymarking the leadingnotesand their resolutions inalldominantseventh chords, before shaping the second part (see ‘Hints’ on p 219).

• YoucantreatthenonharmonicnoteEinb9inoneofthetwoalternativeways described on the previous page.

WE SHALL OVERCOME

Traditional

& b c1

F

œ œBb

œ œF

œ . jœ ˙ œ œBb

œ œF

œ . jœ ˙

& b5

F

œ œBb

œA7

œDm

˙G7

˙C

˙G7

œ œ œC

˙C7

œ œ

& b9

F

˙Bbœ œ

F

wBb

˙C7

œ œDm

w

& b13

F

œ œBb

œB bm

œF/C

˙C7

˙F

w œ Œ Ó


Consonance and dissonance

223


14 Write a second part with simplified rhythm that compensates for the leaps in bars 1 and 2. Mark the structural notes of the melody and follow this when shaping the part (see p 29, Ex 3).

Write a second part to the Mozart excerpt* for two violins.

• For greater smoothness you can when required simplify the second partrhythmically, eg q . e in bar 1 and 2.

• IntheC7chordinthe5thbarandtheBb

7 in the 6th bar you may begin in unison.

Rhythmic and linear considerations in the second part

& b b 43Gm

œ œ œD7

œ œ œGm

œ œ œCm

œD7

œ œGm

œC. M. Bellman: From ‘Epistle No 17’


15

Mozart: Sinfonia Concertante, Andantino con Variazioni (KV 297b)

* original; see p 255.

&b

b

b 4

2

j

œ

Vl.1&2

œ

œ œ

.

œ

.

Eb

œ

œ œ

.

œ

.

Bb7

œ

.

œ

.

œ

.

œ

.Eb Fm/Ab

œ œ œ œ œ

œ

.Bb

&b

b

b

5

œ

.

œn

.

œ

.

œ

.C7 Fm

œ

.

œ

.

œ

.

œ

.Bb7 Eb

œ

.

œ

.

œ

.

œ

.

Fm/Ab Bb7

œ

Œ

Eb

224

16 Write an arrangement of the following melody eg for two trumpets accompanied by piano. The piano will play using the chord symbols provided and therefore doesn't require notation. Study the range of the trumpet on p 140.

• Beginbymarking the leadingnotesand their resolutions inalldominantseventh chords on the third beat of the bar before the chord of resolution, ie bar 6, 7, 10, 14, 17 and 19.

• Simplifytherhythminthesecondpartwhenneededinordertoachieveasmoother melodic line.

• Playthroughthesecondpartinordertohearhowitsounds.

WALTZ


Rhythmic and linear considerations in the second part

Schubert: ‘Zwanzig Walzer’ No 5, TrioOriginal: Ab

major

&b

b

4

3

œ

˙ œ

Bb

œ œ œ œ œ œ

Ebm6

˙ œ

&b

b..

5˙ œ

F7

œ œœ œ

œ œ

Bb F7

Fine

˙

Bb

œ

&b

b

9

˙ œ

G

œ

œ œ

G7

œœ œ œ œ

Cm

˙ œ

&b

b

13

˙ œ

Bb

œ

œ œb

Bb7

œbœ œ œ œ

Eb

˙Œ

&b

b

17

˙ œ

G7/D

œ

œœ

Cm

˙

œ

Bb/F C7/FD.C. al Fine

œ

Œ

F

225


Find the notes not found in the key* in the following chord progressions, and then write down the resolution of these notes:

D major: D – B7 – Em – A7 – D – D7 – G – A7 – D

F major: F – C7 – F – D7 – Gm – C7 – F

C minor: Cm – G7 – Cm – C7 – Fm – Cm – D7 – G7 – Cm

G major: G – E7 – Am – D7 – G – Em – A7 – D – D7 – G

Write a second part to the following final phrases and let the part act as a bass in the cadence.

•Practiseendingontherootorthethird,asdescribedonp31,Ex1.

• Addmovementinthesecondpartinorderto‘fillin’atthelongmelodynoteusing the bass notes as important structural notes; see p 31, Ex 3:

Two-part writing

18

& b b jœ

Bb

œ . œ œ œ œ œCm

œB b/Dœ

Eb6 F7

˙B b

œ Œ


17

* see ‘Characteristic notes’ on p 30.

Mozart: ‘Zwölf duos’ No 8 (KV 487)

Mozart: ‘Zwölf duos’ No 6 (KV 487)

226

Write an arrangement for two parts without accompaniment eg for two violins.

• Letthesecondpartactasabasslineattheendofthephrases.Thetwolastphrase endings may be shaped differently by allowing the second part to end on the root or the third, in the manner described on p 31, Ex 1.

• Feelfreetoaltertheharmonywhennecessary.

LITTLE KARINTraditional

19


& 42 .. ..jœ

Am

œ(E7)

œAm

œ œE7

œ . œAm

œ œ1

C/E

œ œDm

œG7

œC

œ ‰jœ

& ..5

2C/E

œ œDm

œDm/F

œE

œ ‰jœ

C

œ œG7

œ œC

œ .Am

œF

œDm6

œ

& ..9

1Am/E

œ œE7

œ œ œ œAm

œ ‰jœ

2Am/E

œ œE7

œ œ œ œAm

œ ‰

Two-part writing

227


Two parts with accompaniment

20

&F7

wwbEm7

wG7 sus

wA7

wGm6

wCm7

wb

&D9

wGm7

wbC7

wAm6

w#E7

w#Fm6

w

&b

Bb

F C7 F

&

#

#

D E7 A7 D

&b

F F7 Bb

B mb

F G7 C7 F

Add a ‘second voice’ to the following melody notes according to the principle of ‘important’ note of the chord in seventh and ninth chords; see p 33, Ex 3. Imagine there is also an accompaniment, so that the two voices together with the bass form three-part writing.

• Itisimportanttoplaythetwovoicestogetherwiththebassnoteinordertoget a notion of the sound.

Write single line backgrounds using the following chord progressions; see p 35, Ex 1–3.

Movement by step:

Chromatic movement (chromatic single line background):

Start by finding the notes not found in the key and then shape the chromatic single line background with the help of these. Don't forget that the chro-matic single line background may include occasional whole tone steps.

21


&

#

#

D7 G D7 G

228

Write an arrangement of some length for two parts with accompaniment, either to a song of your own choice or to your own composition. Include an introduc-tion and a coda; see ‘Planning and notation’ on p 121 and ‘Introduction and coda’ on p 125.

• Varyyourarrangementbyaddingasecondpartorasinglelinebackground.

• Usethepossibilitytomakethreepartswiththebassatsix-threechordsandseventh/ninthchords.

Melodies suitable for single line background:

Chromatic: LoveMeTender(VeraMatson/ElvisPresley) Home on the Range (Traditional) When the Saints Go Marchin' in (Traditional) Black Orpheus (Luiz Bonfa)

22

Two parts with accompaniment – single line background


229

Bass parts • 3

1 Practise using a passing third in the bass between chords a fourth or fifth apart, as shown in the first example below and on p 43, Ex 2.

Expand the exercise of the passing third using an octave leap, increased activity towards a cadence and filling; see p 45, Ex 2.

Hints

Even if the octave leap and rhythmic ‘push’ are common, they are not required as a rule.


? b b 43 n bBb Eb6œ Bb/F F7 Bb F

˙Bb6 C7 F

? # 42 nG C6 G/D D7 G Am Dm Am/E E7 Am

?1 3➛

G7

˙ ˙1

C

wD7

˙G

wCm

˙Fm

w

?

?

œ œ œ

C

œ

C/E

œ

F6

œ

∑

C/G

œ

G7

œ

œjœ ‰

œœ œ

C

œ jœ

‰œ œœ

the "fill" can even occur ascending

octave leappassing thirdexample of filling the octave

rhythmic ‘push’ be-fore the cadence

the passing third can be inverted downwards when required

a

b

descending passing third

Chapter3

➛

➛ ➛

?Em

˙

H

wA7

˙Dm

wE b˙b

BbwbB

230

&?

b

b

42

42

..

..

jœ

‰

œ œ œ œ#Dm

˙

.œ jœA7

œ œ œ œ#Dm .œ Jœ

A7 œ œ œ œDm Gm6

œ# œ œ œA7

&?

b

b

..

..

71

˙Dm œ ‰ jœ2

˙Dm œ ‰

Octave leap and the root or the third in the bass


2

use the octave leap and passing third

fill in fill in

increased movement using a ‘push’ to the A7 chord (com-pare with Ex 1b)

Write a bass part for double bass (pizz.) to the melody below played by flute. The accompaniment can be played by guitar using the chord symbols.

• Studythe‘rangeofbassparts’forthedoublebassonp147.

• Confineyourselftousingtherootofthechordsandthethirdsaspassingthirds.

• Studythebasspartto‘SerenadeNo12’onp43,Ex1andpractiseusingtheoctave leap in a melodic way as with Mozart.

• Complementwithamelodicfigureinbars7-8;seep45,Ex4.

• Playbothpartstogetherandchecktheindependenceofthebass,iethatitdoesn’tfollowthenotesofthemelody,neitherdirectlynorindirectly.

Scandinavianfolksong

231

Bass parts • 3

Write a bass part for bassoon in an arrangement where the melody is played by oboe (in a later exercise you will add a second part). • Studythe‘rangeforbassparts’forthebassoononp137.

• MakestrongendingsinthemanneryouhavepractisedinExercise1.

• If you wish you may study pedal point on p 50 in order to use it in bar 1.

• TomakecontrastintheBsection,youcanmovetoahigherregisterandthenuse parallel motion against the melody (it doesn't need to be parallel all the way through).

• Playbothpartstogetherandchecktheindependenceofthebass–iethatitneither directly or indirectly follows the notes of the melody.

Hints

It may be useful to treat the root of the chords as framework for the bass part. This framework can then be developed:

within the same chord using octave leap or movement from the root to the fifth and back again

at chord changes using the passing third

I KNOW OF A LOVELY ROSETraditional

3


&?

C

C

œ

Œ

Am

œ œE7

œ œAm

œ . jœ œDm6

œAm/E

œ œE7

œ œ#Am

˙ . œAm

œ œE7

œ œ

&?

6Am

œ . jœ œDm6

œAm/E

œ œE7

œ œ#Am

˙ . œA

œ œ# œ œDm

œ . jœ œ œ

&?

11G

œ œ œ œC

œ . jœ œDm6

œAm/E

œ œE7

œ# œAm

˙ .

fill in

fill in parallel motion in a higher register

fill in

optional pedal point here

Parallel motion and contrast in position

232

Write a bass part for cello section to the melody played by violins, assuming inner parts that complete the chords using the same rhythm as the bass.

• Studythe‘rangeforbassparts’forthecelloonp146.

• Make contrarymotion in thebars indicatedagainst themelodyat chordchanges, from weak to strong beat;seep47,Ex3.

• Usetherootinthebassonthestrongbeats(however,forG/DandD7/Gusethe bass note indicated).Weakbeatsmayhavetherootor the third in the bass.

Contrary motion at chord changes


contrary motion from weak to strong beats at chord changes

contrary motion from weak to strong beats at chord changes

&

?

#

#

8

6

8

6

j

œ

‰

Presto

p

œ

œœ

œ œ œ

‰ Œ ‰

¿

G

œ œ œ

j

œ ‰

j

œ

‰ Œ

¿

J

D7 D7

œœ

œ œœ

œ

‰ ‰

J J J J

G E7 Am

.œ

j

œ

‰ j

œ

‰ Œ ‰

¿

G/D D

&

?

#

#

5

œ

œœ

œ œ œ

‰ Œ ‰

¿

G

œ œ œ

j

œ ‰

j

œ

‰ Œ

¿

J

D7 D7

œ œœ

œ œœ

‰ ‰

J J J J

G Em Am/C D

.œ

j

œ‰

Œ

.¿

D7/G G


4

233

Bass parts • 3

Addbasspartstothefollowingphrasesinordertopractisepassingthird(1-3)aswellasmovementfrom3–1inthesamemannerasshowninonp43,Ex3.Determineifmovementfrom3–1workstogetherwiththemelody–seebelow.

Hints

Movement from 3–1 and the passing third (1–3) can sometimes be seen as alterna-tives to one another. In one situation however the passing third may create parallel octaves between the melody and bass – directly or indirectly. In this case, the move-ment from 3–1 can present an alternative solution (and vice versa):

Notethatinsomeofthefollowingexamples,bothalternativesareacceptable.

&?

b

b

jœ‰

Dm

œ œ œ œA7

œ

Movement from 1–3 and 3–1

&?

#

#

D7

œ . jœ œ œG

œ œ ˙

&?

b b b

b b b

jœ

‰

Bb7

œ œ œ œEb

œ œ

&?

b

b

D7

œ œ œ œGm

œ œ œC7

œ œ œ œF

œ œ œ

&?

#

#

jœ‰

E7

œ œ# œ œ œ œAm

œ

5

&?

b

b

jœ‰

F

œ œ œ œ

1 ➛

œ3

œ

C7

œœ

&?

b

b

jœ‰

F

œ œ œ œ

3 ➛

œ

1

œ

C7

œœ

Instead:

bass moving with melody in octaves


234

Writeabasspart forvioloncello to ’Musette’, themelodybeingplayedbyaclarinet (in a later exercise you will add an inner part).

• Workwith an even rhythmbased on the strong beats in the first phrase (b1-2),andmakecontrastwithupbeatrhythminthesecondphraseoftheAsection;seep45,Ex1and2.(Noticethatabassnoteisrequiredonthe3rd beat of the 2nd bar of the A section, in order to complement the melody rhythmically–asopposedtotheMozartexample.)

• Agoodmethodistostartwiththerhythm of the bass part in the manner shown in Exercise 4 and then notate the pitch.

• Bar1:Thesecondtimeyoumayvarytheoctavepositionofthefirstnote;seep 49, Ex 1.

• Usemovementfrom1–3or3–1andoctaveleapaswellasstrongendingsinthe cadences.*

• Feelfreetoaltertheharmonyprovided.

MUSETTE Gluck:from‘Armide’

6


Rhythmic variation

even rhythm based on strong beats upbeat rhythm

fill in

fill in

&

?

b

b

C

C

.

.

.

.

œ

Œ

œ œ œ œ

F

œ# ˙œ

Gm

œ œ

j

œ œ œ œ

C C7

&

?

b

b

.

.

.

.

41

œ

,

œ

œ

œ

F2

˙

Œ œ

F

œ œ œ œ

D7

˙œ

œ

Gm

&

?

b

b

8

œ œ

j

œ œ œ œ

C7

˙œ

œ

F

œ œ œ œ

Dm

&

?

b

b

11

œ# ˙œ

Gm

œ œ

j

œ œ œ œ

C C7

.˙

F

*inthefirstcadenceinb3-4aweakendingmaybeused;see p 41, Ex 3.

235

Bass parts • 3

Writeabasspartforcelloto‘Minuet’,themelodybeingplayedbyaviolin(ina later exercise you will add an inner part).

• Usethe3rdasaleadingnoteinthedominant7thchords,resolvingtotherootofthenextchord;seep43,Ex4.NoticethatinthechordBb/Finb4andF/Cinb8and15thebassnotesFandCrespectivelyareregardedastherootofthechord(cadentialsuspension/cadentialsix-four).

• Usestrongendings,iewithoutthe3rdinthebass(b8and15-16).

• Avoidtherootinthetonicinb9,inordertomakeacontrasttob1–compareb 1, 5 and 9 in Ex 1 on p 49. (You may also vary the octave position in b 1 at the repeat if suitable.)

MINUET Heinrich Koch

7

Leading note in the bass

Text book: pages 43, 49

fill in

fill in

&

?

b

b

4

3

4

3

˙ œœ

F C7

˙ œœ

F Bb

œ

œœ

F C7

œ œ Œ

Bb/F F

&

?

b

b

.

.

.

.

5œ

œœ

Bb

œ

œ

œ

F F

opt. 1x((7)

œ œ œ œ œ œ

Bb

D7 GmBb

G7– )

˙ œ

F/C C

&

?

b

b

.

.

.

.

9

˙ œ

œ

F D7

œœ œ

Gm D7( )

˙ œ

œ

Gm C7

œ œ œ

Œ

F

&

?

b

b

.

.

.

.

13œ

œœ

Bb

œ

œ

œ

F

œ œ œ œ œ

3Bb F/C C7

˙

Œ

F

fill in

236

Writeabasspartforvioloncelloto‘Minore’(inalaterexerciseyouwilladdtwopartstocompletethearrangementforstringorchestraorstringquartet.)

• Allowthebasstoformaheldorrhythmisizedpedalpointinbars1–4;seep50–51(‘rhythmisizedandvariedwithoctaveleaps’;seep51,Ex3).

• Usestrongendingsinthemaincadences–particularlyinthelast5bars.

• Trytocreatestepwisemovementusingthe techniqueyouhavestudied inexample2–3inExercise8above;seealsop53,Ex1–5.

• Write‘fills’inthebassbetweenphrases.

• Playthechordswhenshapingthebass.

10

Stepwise and chromatic movement in the bass

Write bass parts which are entirely built on stepwise and chromatic movement using the following chord progressions; see pages 52–53.

Stepwise movement:

• using inversions of the chords (see p 53, Ex 1):

• using passing notes between each root in a chord progression (see p 53, Ex 2):

• using movement from 8-7 (see ‘The seventh in the bass’ on p 52) and passing notes between chord notes within the same chord (see p 53, Ex 3):

Chromatic movement:

• using inversions of the chords (see p 53, Ex 4):

Composeamelodyintraditionalstyle(orjustachordprogressionwithbass)usingstepwiseand/orchromaticbass.

8

? # # c b bD A7

˙D Em A B b F7

˙Bb Cm F

? b cF Dm

œBb Gm C7

œF

w

? # cG D G7 C Cm D7G

˙G

w

9


?

b

b c

˙

G7 Cm

˙

˙

F7

w

Bb

movement from 8-7 includ-ing resolution to the 3rd in

the next chord

passing notes within the same chord

237

Bass parts • 3


MINORE C.M.Bellman:EpistleNo71(2ndsection)

&

?

#

#

4

2

4

2

œ œ œ œ

Em

œ œ œ œ œ œ œ œ œ#

œ

F # o7B7( )

œ œ

B7

&

?

#

#

7

j

œ œ œ œ

Em

˙ œ œ œ œ

Em

œ œ œ œ œ œ

C

œ

œ

Am

&

?

#

#

13

œ

œ#

Em/B B7

˙

Em

œ œ œœ

E7

œ# œ œœ œ œ

Am

˙

&

?

#

#

19

œ œ œœ

D7

œ œ œœ œ œ

G

˙œ œ œ œ

Em

œ œ

&

?

#

#

25

œ œ œ œ

C

œ

œ

Am

œ

œ#

Em/B B7

œ

œ

C Am

œ

œ#

Em/B B7

˙

Em

held or rhythmic pedal point

238

Writeabasspartfortromboneto‘Asfestiveacomelyshepherdess’,themelodybeing played by trumpet. (In a later exercise you will add two more parts to completethearrangementforbrassquartet.)

• Allowthebasstoformapedalpointinbars1–4(seep50–51).

• Usestepwiseorchromaticmovementaccordingtotheindicationsgiveninthescore(seealsop53,Examples1–5).

• Makealterationstotheharmonyasrequired.

AS FESTIVE A COMELY SHEPHERDESS

C.M.Bellman:EpistleNo80

11


Stepwise and chromatic movement in the bass

&

?

b

b

b

b

8

6

8

6

j

œ

‰

.œ œ# œ œ

j

œ

Gm D7

œ

j

œ œj

œ

Gm

.œ œ# œ œ

j

œ

D7

.œ œj

œ

Gm Cm Gm

&

?

b

b

b

b

5

.œ œ# œ œ

j

œ

Gm

œ œ œ œj

œ

.œ œ# œ œ

j

œ

D7

.œ œ

j

œ

Gm

œ

j

œœ

j

œ

Bb

&

?

b

b

b

b

10.œ œ œ

œ

j

œ

Cm

œ

j

œœ

j

œ

F7

.œ œ# œœ

j

œ

Bb (Gm)

œ

j

œœ

j

œ

Eb C

&

?

b

b

b

b

14

œ

j

œœ

j

œ

F D F # ˜

.œ œ œ.œ œ œ#

¿

J

Gm Cm6 D7

.œ

œ œ.œ œ œ

¿

Eb G7 Cm Cm6

.œ œœ œ

Gm/D D7 Gm

rhythmisized pedal point

chromatic bass – choose suitable chords to match the bass progres-sion you have made

chromatic movement

stepwise ascending in the bass

7

239

Three-parT wriTing • 4

Add an inner voice to the following, thus forming three-part chords according to the principles described on pages 58–59. As complete a chord as possible is to be preferred; otherwise make one with an alternative doubling; see the first bar of the exercise.

Practise finding in the chord progressions below, the note in common that can be used to create a pedal point in an inner voice; see p 61, Ex 3 and 4. At least three of the chords should include the note in common.

G – D7 – G

Cm – C7 – Fm – Cm

F – Bb

– Gm7 – C7 – F

D – Em – Gm – A7 – D

Bb

– Eb

– Cm – F7 – Bb

1

&

?

wœ œ( )

G

w

w

F

w

wb

Bb

w

w

Dm

w

w

Am

w

w

Em

w

w

Eb

wb

w

Cm

w

wb

C7

w

&

?

w#

D7

w

w#

A7

w

w

Cm6

w

wb

Bb7

wb

w

F7

w

w

C7

w

w

Dm6

w

w

A7

w

w

F7

w

2


Chapter4

240

3 Add a 2nd part and a bass where the latter moves in parallel motion with the melody, and the inner part forms a pedal point which uses the following rhyth-mic motive:

The example is taken from Mozart's Piano Sonata in A major (KV 331). If you follow to the instructions above, your result should match the original version.

Compose in the style of your choice, some phrases or a whole piece including ‘pedal point in the inner part’. Write the composition for three instruments or voices.

Pedal point in the second part


&

?

# # #

# # #

86

86

..

..

1

œ . œ œ œ jœ

œ . œ œ

œ . œ œ œ jœ1

œ jœ œ jœ œ œ œ œ jœJœ œJœ

Jœœ .

&

?

# # #

# # #

5 2

œjœ œ

jœœœ

Jœ

œœœj

œœœ œœœ‰

œ jœ œ ‰

œ jœ œ jœ

&?

&?

4

241


Hints:

When writing in three parts, it may be wise to write the bass part first – even if it often has to be slightly changed at a later stage. After the bass part is finished, the middle part is added.

• In order to practise three-part writing, complete the melodies which you added bass parts to in the previous chapter. On the next page there are some comments to consult when shaping the middle part.

• When writing using chord symbols, don't forget that it’s up to you whether a dominant chord should include the 7th, or whether it is sufficient as a triad.

• Be careful when shaping the melody and when needed use simpler rhythms in the second part.

Chord spacing

• In order to achieve a complete sound, the second part is required to play the 3rds of the chords where these are lacking in the melody or bass part. In 7th chords the 3rd may be omitted if the 7th (or 6th) are present.

• Indicate the chords where the 3rd ‘must’ appear in the second part. In dominant 7th chords, you can postpone your choice of note until you know what notes are to be preferred in the context – as long as the 3rd or 7th isn't in another part.

• The next step is to create a good melodic line that includes the chosen notes. At the places where the 3rds already exist in the melody or bass, choose either the root or the 5th – 7th (or 6th) in 7th chords – depending on which alternative provides the best voice-leading/melodic line. The sound will of course be more complete if you choose the 5th when the root already exists in another part, and vice versa.

• Pay attention to the leading notes in the chords, eg in a dominant 7th chord, and make sure they are properly resolved. Sometimes the doubling of a chordal note may occur.

&

?

#

#

42

42

1

G

œ

D

œ œœ œ

œ œ

C

œ

G

œ˙

œ œ3 – 1

D7

œ

G

œœ œœ œ . œ

D

œ

D7

œ œœ . Jœ

œ œ

G

œ Œœ Œ

œ Œ

leading note resolution

&

?

#

#

42

42

1

Analys: G

œ

D

œ œœ

œ 3œ

C

œ3

G

œ

3œ œD7

œ

G

œœœ 3œ . œ

D

œ

D7

œ œœJœ

œ œ

3

G

œ Œ

œ Œ

2nd part ‘must’ play the 3rd

Analysis:

242

I KNOW OF A LOVELY ROSE

Complete your arrangement on p 231 by adding a second part which can be played by clarinet. Study the hints on the previous page.

• Bars9–10and11–12:Ifyouhaveusedparallelmotionbetweenthebassandthe melody, the second part may make a pedal point here – but not necessarily through all ofbars10and12.Thepedalpointcanbeplacedeitherbeloworabove the melody, and it might be rhythmisized or held; see p 61, Ex 3 and 4.

• Bars9–12:ThemelodymaybeplayedbytheclarinetintheBsection,andthen return to the oboe in the last phrase (possibly in a higher octave).

• Feelfreetoaltertheharmonyprovidedandthebasspartyouhavewrittenearlier.

MINUET

Add an inner part to the melody and bass you have written on p 235, played by violin or viola.

• Useparallelmotionwiththemelody(orthebass)whensuitable.

• Alter theharmonyaswellas thebasspartyouhavewrittenearlierwhenrequired.

MUSETTE

Beforeyoustartworkingonthisexerciseyoushoulddoexercise8onthenextpage.

Add a second part, played by another clarinet, to the melody and bass part you have written on p 234.

• Useparallelmotionwiththemelodyorthebasswhensuitable.

• Useoneofthehintsyoupractisedinexercise8onthenonharmonicnotesinbars 2 and 3.

• Makealterationsintheharmonyandthebasspartyouhavewrittenearlierif required.

Chord spacing and voice-leading

Text book: page 58–61

6

7

5

243


Nonharmonic notes

8

➛

or:

&

?

C

œ œ˙˙

C

œ œœ œ˙

&

?

C

œ œœœ

➛&

?

D

œ œ#

˙

G

œ œ

˙

Cm

œ œ

˙

Eb

œb œ˙b

Ab

œ œb˙b

Fm

œb œb

˙

D

œb œ

˙

Eb7œ œb

˙b

E

œ œ#

˙n

&

?

D

œ œ#

˙

G

œ œ

˙

Cm

œ œ

˙

Eb

œb œ˙b

Ab

œ œb˙b

Fm

œb œb

˙

D

œb œ

˙

Eb7œ œb

˙b

E

œ œ#

˙n


Add to the phrases below, a 2nd voice that includes nonharmonic notes in the form of appogiatura.

Hints

A good hint is to first add a 2nd voice to the chord of resolution. Then work backwards with one of following alternatives:In the alternative using parallel motion the two voices should move in intervals of 3rds or 6ths.

Make two versions according to the alternatives described above.

The inner voice plays a chord note:

The inner voice uses parallel motion, either in 3rds or 6ths with the melody:

244

Two-part background plus melody

Write two-part backgrounds in the descant register to the melodies below; see p 63, Ex 1 and 2.

• Writethebackgroundsinthedescantregister.

• Shapethebackgroundsothatitsounds‘good’intwo-partwriting,iewhenplayed without the melody.

Two-part background in longer note values (see p 63, Ex 1):

• Usemovementbystep(whenneededalsochromaticmotion)endinginunisonand following the chord rhythm.

Rhythmisized two-part background (see p 63, Ex 2):

Intheexamplebelow,theBsectioninmelodyisused.Thecompletemelodyispresented on p 238. (The two-part backgrounds you create will be used in a later exercise, as a contrasting section in a four-part arrangement.)

• Addegeighthnotemovement,possiblywitharestoneach1stbeat.

9


From:‘AsFestiveaComelyShepherdess’(C.M.Bellman),seep238.

& b b 86Vl.1

Vl.2&Vla.

jœ 9

B

B b

œjœ œ

jœ

Cm

œ . œ œ œ jœ

F7 no1

œjœ œ

jœ

Bb

œ . œ# œ œ


a

b

&C

161.œ

j

œ œ œ

.

C G

Vl.1

Vl.&Vla.

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œ

œ

.

œ

.

F Em

œ œ

œ

.

œ

.

Dm D7no 1

˙ ˙

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&

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j

œ œ œ

.

C G

œ

œ

œ

.

œ

.

F Em

œ œ

œ

.

œ

.

Dm G

˙

C

background ends in unison

background ends in unison

245


Treatment of nonharmonic notes

Practise using parallel motion three parts in the descant register when there is stepwisemovementinthemelodicpart;seep65,Ex4(bar104)and5.

Add to the following two-part writing in parallel motion an inner part that formsapedalpoint;seep65,Ex4(bar100).Thepartshouldmovewiththesame rhythm as the other parts. The inner part may occasionally play a note in a unison with the melody.

Mozart: Divertimento No 12,

Trio (KV 252) Original: Ab

major

10

11

& C10

Zum

jœJœZie -

œœ ..le

jœœ

führt

œœ ..dich

jœœ

die -

œœ..

se

jœœ

Bahn,

œœ..

doch

jœœ

musst

œœ..

du,

jœœ

Jüngling,

œœ.. œœ

männlich

œœ.. œœ

sie -

˙gen.

œœ

& b 43 Œœœ œœ œœ œœ œœ ˙ œœœ ˙ ...

& b b b c Œ œœ

œœ

œœ

œœ

˙˙

œœ

œœ

˙˙ Ó

Mozart:TheMagicFlute,No8

two parts move and one repeats the same note

two parts move and one repeats the same note


c

b

a

&#

4329 Ob.

Fg.

C

œ œ œG

œ œ œ

D

œ

D7

œœœ

G

œœœœ œ

G/D

œœ ..˙ .

jœœ

D

œœœ

œœ

œœBn.

246

Three-part writing without the bass

12


Write a three-part arrangement of ‘Greensleeves’ for three voices (two sopranos and one alto).

• Inordertocreateastablebeginningandstrongendings/halfcadencesofthephrases, you can use the root in the 3rd voice in b 1 and all the dominant chords (D). This requires the utilising of unison, ie 3rd voice will here act as a bass; see p 65, Ex 3, b 3 (including the upbeat).

• Atthenonharmonicnotes,twoofthevoicescanmoveinparallelmotionwhile one repeats the same note; see p 65, Ex 4.

GREENSLEEVES

at the nonharmonic notes, two voices move and one repeats the same note

two voices move and one voice repeats the root

*therepeatingvoicemaydoublethenoteFabovemiddleC,iestartsinunison.** you may add the 7th resolving to the 3rd in next bar; see p 65, Ex 2.

&b

b

8

6 j

œ

ForA -

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j

œ.œ œ œ

las,I

myhave

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youved

Gm

œ

j

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meso long,

wrong tode -

F

*

1

œ

j

œ .œ œ# œ

cast me off dis -Gm

&b

b..œ

j

œ#œ

cour - teous - ly.D

2

.œ œ œ.œ# œn œ

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**œ

j

œ œ

com - pa - ny.Gm

&b

b..

j

œ

Green -Green -

Bb

.œ .œ œ œ

sleevessleeves

waswas my

œ

j

œ.œ œ œ

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myof gold

joy.and

F 1

œ

j

œ .œ œ# œ

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&b

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Gm/D D

.œ œ

Green - sleeves.

Gm

Traditional

247


Write a longer three-part arrangement, with an introduction and coda, for an ensembleofyourchoice.Usedifferenttechniquestovarythearrangement:

• solo/unison–two-partwriting–three-partwriting(p63,Ex4)

• theinstrumentsalternatetoplaythemelody

• melodywithsingle line background or two-part background (p 63, Ex 1 and 2)

• pedalpointinthebass

• pedalpointintheinnerpart(p61,Ex3and4)

• contrastbetweenlight,closevoice-leadingandabroadersound

• degreeofactivity,eg‘supportingchords’asopposedto‘allpartsmoving’(p63,Ex3)

Refer even to ‘Planning and notation’ on p 121 and ‘Introduction and coda’ on p 125.


13

248

In the following example you will practise chords in four-part writing using open position.

Hints:

When you are spacing chords in open position, it is advisable to start from the chord in close position and then spread the chord by dropping the second note from the top down an octave:

Notice that the close position of a 7th chord can be misinterpreted as open, as there is a gap for one more chord note. (In the close position of the G7 chord above there is room for the note G between B and F above middle C.)

‘Add’ a three-part background using the chord progression below – compare with Example 2 on page 69. The background will be played by flute, clarinet and horn and be notated on the staff below.

• Thechordalbackgroundinlongernotevaluesshouldbewrittenaccordingtotheprincipleof‘leastpossiblemovement’.Inordertoaccommodatetheranges of the instruments used, the background should be placed in a higher register (see the flute in bar 1) and be spaced in open position.

• Noticethatthereisabasspartwhichplaystherootofeachchord.

&

?

C

wwœww

G7

wwœww

Chapter


1

2

5

&

?

strF

wspr

w

w w

A7

w# w

w w

Dm

w w

w w

Bbw w

wb w

Eb7wb w

wb w

E7

w w

w w

Am

w w

w w

openclose

&

#

4

3

.˙

EmCl.Hn.

Fl.

spritt läge:

.˙

Am Em B7 Em

open position:

249

Four-part writing plus melody • 5

In the following example you will practise the spacing of triads with the 3rd or 5th in the bass in four-part writing. In example b you will practise close and open position as well.

Triads with the 3rd in the bass – six-three chords:

• Doublethe5thortheroot*–whenpossible,doublethemelodynoteattheoctavein the manner shown in the first chord. Remember that you may when necessary doubleattheunison,iethattwovoicesplaythesamenote;seep73,Ex3.

Triads with the 5th in the bass – six-four chords:

• Add–asclosetothemelodyaspossible–thetwochordnoteswhichtogetherwith the melody form a complete triad. In this way the chord is spaced in close position and the 5th is doubled in four-part writing, which is also the mostcommon**.Then,spreadthechordbychangingtoopenposition.

Triads with the 3rd or 5th in the bass

3

*forreasonsconnectedwithvoice-leading,forexample,anothernotemaybedoubled;seep88.**seealternativesunder‘Double’,p73,Ex2.

a

b


&

?8

D/F #

wœw# œ

Em/G

w

w

F/A

w

w

G/H

w

w

Dm/F

ww

C/E

w

w

Bb/Dwb

w

Am/C

w

w

Ab/C

wb

w

Eb/G

wbw

B

250

Four-part background

Tchaikovsky:SwanLake,IntroductionOriginal:Bminor

AddtwoinnerpartstothetwolowerstavesinExercisesaandb,sothatafour-partbackgroundisformed;seep69,Ex1.Treatthebackgroundasacompletefour-partentity,ignoringthemovementinthemelody.

Ifyoufollowthe instructionsbelowyourresultshouldmatchTchaikovsky'soriginal. • Useonlycloseposition.

4

Tchaikovsky:SwanLake,No17(The four-part writing

is played by strings as a waltz accompaniment.)

a

b


add two inner parts

&

&

?

b b b

b b b

b b b

43

43

43

..

..

..

108 Fl.+Vl1

‰ œn œ œ œ œ

Kl.1&2+Fg1

˙ .Fg.2

Fm6

˙ .

œ œ œ œ œ œ

˙ .

Cm/G

˙ .

œ œ œ . Jœ

˙ .

G7

˙ .

1

œ œ œ œ œ œ

˙ .

Cm

˙ .

2

œ œ œ œ œ œ

œ Œ Œ

Cm

œ Œ Œ

œn œ œ œ œ œ∑

∑

jœ‰

‰

no 5th

Cl.1&2+Bn.1

Bn.2

&

&

?

c

c

c

1 Ob.

dolcep˙ œ œ œ œ

Œ2 Hn.+2 Fg.

˙ Œ

ŒAm/E

˙ Œ

œ . jœ# jœ œ œ œ

Œ ˙ Œ

ŒE7

˙ Œ

˙ ‰ œ œ œ

Œ œ œ Œ

ŒAm

œ

Dm7

œ Œ

˙ ˙Œ œ Œ œ

ŒDm/H

Hm7-5

œ

( )

ŒE7

œ

add two inner parts

2 Hn.+2 Bn.

B

Bb5

251


Practisespacing7thchordsinfourvoicesinopenorclosepositionusingtheexercises below. Voice-leading is included as part of the exercises.

7th chords including all four notes with different bass notes:

• Beginbyadding–directlyunderthemelodynote–thetwonotesmissinginorder for the chord to include allfournotes.Thenleadthevoicestothenextchordbytheuseof‘leastpossiblemovement’.Resolvetheleadingnotesinthe7thchordsasshowninb1-2intheexample.

Closeposition:

Openposition(thesecondvoiceintheexerciseaboveistransposeddownanoctave):

Resolution of the 7th chord in inversion

&?

G7

œ

˙œ

C

œ

˙œ

D7

˙

˙#

Gm

˙

˙

F7

˙

˙

B b

˙b

˙b

Fm7

˙b

˙b

Bb7

˙b

˙

E7

˙#

˙n

Am

˙

˙

Dm6

˙

˙

E

˙

˙

all four notes

&?

G7

œœ

C

œœ

D7

˙

˙#

Gm

˙

˙

F7

˙

˙

B b

˙b

˙b

Fm7

˙b

˙b

Bb7

˙b

˙

E7

˙#

˙n

Am

˙

˙

Dm6

˙

˙

E

˙

˙

all four notes

5


252

Inthefollowingexerciseyouwillpractisedominant7thchordswithorwithoutthe5th/root,aswellasalternativeresolutionsoftheleadingnote.

The dominant 7th chord with the 5th omitted and leading note resolution:

• Add–directlyunderthemelodynote–thetwonotesmissinginorderforthethreeuppervoicestoformadominant7thchordwith the 5th omitted.

The complete dominant 7th chord with the leading note moving ‘freely’:

• Add–directlyunderthemelodynote–thetwonotesmissinginorderforthechord to include all four notes.

• Letthe3rdofthedominant7thchorddescendtothe5thinthetonicchordinordertoachieveacompletetriad,seethefirstbarandp71,Ex3.

Alternatives in the spacing/resolution of the dominant 7th chord

a

b

6


&

?

G7

œ˙œ

C

œ

˙œ

strC7

˙b

˙

F

˙

˙

strEb7

˙

˙b

Ab

˙b

˙b

H7str

˙

˙

Em

˙

˙

sprA7

˙#

˙

D

˙

˙

sprF7

˙b

˙

Bbm˙b

˙b

G7 no 5

begin with the chord in close position and then drop the second voice an octave down

closeB

openclose close open

&

?

G7

œ

˙œ

C

œœ

str

D7

˙

˙

G

˙˙

str

E7

˙

˙

Am

˙˙

str

Bb7

˙b

˙b

Eb

˙

˙b

spr

A7

˙

˙

Dm

˙

˙

spr

Eb7˙b

˙b

Ab

˙

˙b

all four notesbegin with the chord in close position and then

drop the second voice an octave down

close openclose close open

253


The complete dominant 7th chord with a preferred leading note resolution:

• Resolvebothleadingnotesinthecompletedominant7thchord,whichresultsinthetriplingoftherootanda3rdinthetonicchord;seep71,Ex4onandbars 1–2 below.

The incomplete dominant 7th with the 5th* in the bass (VII with the 3rd in the bass):

Twoalternatives:

• Addthetwomissingnotesdirectlyunderthetopvoice,sothattheupperthreenotesformadominant7thchordwiththerootomitted.Thiswillresultina doubling of the bass – ie the 5th – which is the most common. Most often theseventhrisestothe5thofthechordofresolution.**

• The7thisdoubled,oneofthe7thscontinuestoitsnaturalresolution,whiletheotherwillmovetothe5thinthechordofresolution.

*the7thor3rdmaybeinthebass,althoughthisislesscommon.

&

?

G7

œœ

C

œ

˙œ

C7

˙

˙

F

˙˙

E7

˙

˙

Am

˙˙

Eb7

˙b

˙b

A b

˙b˙b

D7

˙

˙

Gm

˙˙

F7

˙

˙

Bb

˙b

˙bno 5thall four notes

c

d

Text book: pages 70 –73

**the7thmayalsodescend,inwhichcasethedoubled5thintheinnervoicemovesdowntothe5thofthechord of resolution.

&

?

G7 no1

œ

˙œ œ( )

C

œ

˙œ

A7 no1

˙#

˙

Dm

˙

˙

Eb7 no1

˙˙b

Ab

˙b˙b

H7 no1

˙#

˙#

E

˙

˙#

C7 no1

˙˙

Fm

˙˙

Bb7 no1

˙b

˙

Eb

˙

˙b

7th resolves ascending to the 5th

double the 7th

B

254

Four-part accompaniment

Add two inner parts in order to complete a four-part accompaniment, as shown in b 1. Treat the string accompaniment as a complete four-part entity, separated fromthemovementofthehornmelody(comparewithExample3onpage69).

IfyoufollowtheinstructionsbelowyourresultshouldmatchMozart'soriginal: • Useonlycloseposition

• All7thchordsshouldincludeall four notes

complete triad on off-beats

leading note reso-lution

Mozart:HornConcerto,Romanze(KV447)


7

&

&

?

b b b b

b b b b

b b b b

C

C

C

1 Hn.

Ab

œ .jœ œ œ

Vl. 1&2

‰œœ ..! ‰

œ .!Vla.

Vc. & Kb.

œ Œ œ Œ‰ œ .!

Eb7

œ œ œ œ œ‰

2x

jœ( )

jœ

‰ œ .! ‰ œ .!

œ Œ œ Œ

1

A b

jœ‰

Eb7

jœ ‰

Ab

jœ ‰

D b6 no5

œ œ‰ jœ

‰ jœ ‰ jœ ‰ jœ

Jœ ‰ Jœ ‰ Jœ ‰ Jœ ‰

&

&

?

b b b b

b b b b

b b b b

..

..

..

4

Ab/Eb

˙

Eb

œ œ œ œn‰

œœ œœ œœ œœŒ

˙ . Œ˙ .

2

Eb7

œ œ œ œ

Ab

œ œ

D b6

œ œ

˙ jœ‰ jœ ‰

˙ Jœ‰ Jœ ‰

A b/E b

jœ ‰

Eb7

jœ ‰

Ab

œ

œœ œœ œœ œœ œœ

Jœ ‰Jœ

‰ Jœjœ œ jœ œ

Cb.

255


&

&

?

b b b

b b b

b b b

42

42

42

Ob.

Jœ

Vl. 1&2

‰Vla.

Vc. & Kb.

‰

œ œ œ œ

jœ ‰ ‰ jœpizz.

pizz.

Eb

Jœ ‰ ‰ Jœ

œ œ œ œjœ ‰ ‰ jœ

Bb7

Jœ ‰ ‰ Jœ

œ œ œ œ

œ œ œ œ

Eb

œ œ

A b6 no5

œ œ

œ œ œ œ œœ

œ Œ

Bb

œ Œ

&

&

?

b b b

b b b

b b b

5

œ œn œ œ

jœ ‰jœ ‰

Vc. 8va

C7

Jœ‰

Fm

Jœ‰

œ œ œ œ

jœ ‰ jœ ‰

Bb7Jœ

‰

EbJœ

‰

œ œœ œ

jœ ‰ jœ ‰

Ab6no5

Jœ‰

Bb7Jœ

‰

œ Œ

œ Œ

Ebœ

Œ

Asinthepreviousexercise,addtwoinnerpartstocompleteafour-partaccom-paniment. Also here you should treat the string accompaniment as a complete four-part entity – now in pizzicato.

IfyoufollowtheinstructionsbelowyourresultshouldmatchMozart'soriginal: • Useonlycloseposition.

• All7thchordsshouldincludeallfournotesandallleadingnotesshouldberesolved.

• Becarefulwiththesix-threechordsinb5–6,inallowingtheleadingnoteresolutionofthedominant7thchordtodeterminethedoublingintheFmand E b chords.

Mozart:SinfoniaConcertante,AndantinoconVariazioni(KV297b)(The woodwinds are omitted from the score)

8


Fm/A b

Fm/A b

Cb.

256

Write a three-part background using the chord progression below. Assume that there is also a bass playing the root of each chord. • Break theprincipleof ‘leastpossiblemovement’ in themiddleof the3rdbar.Chooseanewvoice-leadingpositionwhichgivesthelasttwochordsacharacterofending;seep77,Ex1.

Writeathree-partchordalbackgroundin longernotevaluesusingthechordprogression below, which then forms the basis for an accompaniment. Imagine that there is also a bass playing the root of each chord.

• Beginwithastaticsection,inbar5‘lifting’thebackgroundtoanewvoice-leadingpositionbyrepositioningthechord;seep77,Ex2.

• Then,allow theupperpartof thebackground todetermine thedirectionsothatitformsasimplemelodicline.Stepwisemovementwithoccasionalsmallerleapsisthemainpatternofmovement;seep79,Ex2and3.Iftheupperpartlandsonaleadingnoteitshouldberesolved.

• Returntothestartingpositionattheendsothattheentirechordalbackgroundgetsacurvedform.

Breaking the ‘least possible movement’

&

#

c ..

.

.w

ww

G Am/C D7 G G E7 Am

&

#

Am/D D7 G Em Am G/D D7 G

static section

&c

www

Am Dm

¿

Œ

¿

Œ

Am E7

¿

Œ Ó

Am

static section closing section

10

9


‘leap’ to a new voice-leading position

257


Add–independentofthemelodicline–threevoicestocompletethefour-partaccompaniment for strings to the melody below played by flute/horn.

• Followtheinstructionsofthesection‘Hints’onthenextpage.

• Letthe1stpartascendbystep,reachaclimaxandthendescend;seep79,Ex 1, b 95 (although in this example the 1st part ascends by leaps).

• Rememberthatyoumayoccasionallyrepeatanotewhenshapingthecurvedmelodylineinthe1stpart(see‘Hints’onnextpage,bars1-2).

• ForafullsoundinthethreevoicesMozartusesacompletetriadalsointhesix-three chords (Ab/C and E b/G);see‘Thesix-threechord’onp72.*

Mozart:SinfoniaConcertante,II(KV297b)

The melodic line in the upper part in an accompaniment

11


&

&

?

b

b

b

b

b

b

b

b

b

c

c

c

86

Ó Œ

œ

‰...

¿

!‰

œ

œœ

œ

Eb

Ob.

Vc.&Cb.

Vl.1&2

Vla.

simile

œ ˙ œ œ

œb

œœ

œ

œ œ ˙

œ

œœ

œœ

Ab/C

&

&

?

b

b

b

b

b

b

b

b

b

89œ œb .œ

œœ

œ

œ

œœ

œ

Eb/G

œb œ œ ‰ œ œ œ

œ

œœ

œ

Ab

Hn.œ œ œ ‰ œ œ

œ

œœ

œœ

Eb/G

&

&

?

b

b

b

b

b

b

b

b

b

92

œ œ ˙ œ

œœ

œ œ

Fm

.œ œ œ œ œ

œ œ

œœ

œ

œ

Bb7/D

œ œœ œ œ

Ó

Œ Ó

œ Œ Ó

Eb

use the same figures of accom-paniment as in Ex 7 on p 254

*Mozartusesopenpositioninbars91-94.

258

Hints for exercise 11

1. In order to achieve a good line in the first part of the accompaniment, you should from the outset shape this as a simple single line melody. Stepwise movement with occasional small leaps should dominate the movement (a note can be repeated); see p 79, Ex 2 and 3.

If the part lands on a leading note it should be resolved.

2. Use this single line melody as the basis for shaping the chordal background by

adding the 2nd and 3rd parts, so that these make four-part writing together with the bass.

3. Add rhythm to the chordal background eg:

&

?

#

#

#

#

#

#

‰ œ

œœ

œ

œœ

œ

œœ

œ

Œ

‰ œ

œœ

œ

œœ

œ

œœ

œ

Œ

‰ œ

œœ

œ

œœ

œ

œœ

œ Œ

&

?

# # #

# # #

Œ˙

œ Œ Œ

Œ˙

œ Œ Œ

Œ ˙

œ Œ Œ

or:

The melodic line in the upper part in an accompaniment

&

?

#

#

#

#

#

#

4

2

4

2

˙

˙˙

˙

A

˙

˙˙

˙

˙

˙˙

˙

D6 no5

˙˙

˙

˙#

/D #H7

˙˙

˙

˙

E

˙˙

˙

#

˙

H7

˙

˙

˙

EB B7

&

#

#

#

4

2

˙

A

˙ ˙

D6 no5

˙

/D #H7

˙

E

˙

H7

˙

E

leading note resolves

B B7

259


&

?

˙

œb

˙

œ

G7b 9/B

˙

œ

˙œ

C

˙

˙#

D7b 9/F # G

˙

˙#

E7b 9/G# Am

˙b

˙

Bb7b 9/D Eb

˙

˙#

A9/C # D

˙b

˙

Eb9/G Ab

In the exercises below you will practise the spacing and resolution of 9th chords withorwithouttheroot;seep81,Ex1–3.

Ninth chords with the root:

• ‘Important’notessuchasthe3rd and 7th should be included. When the root is present,the5thisomittedinfour-partwriting;seep81,Ex1.

• Adda9thtoeachdominant7thchordintheexample.Chooseeitherthemajororminor9thaccordingtothebasicprinciple:

b9 if the chord resolves to a minor chord a 5th apart 9 if the chord resolves to a major chord a 5th apart

Althoughtheminor9thmaybeusedwhenthedominant9thchordresolvestoamajor tonic, the major 9th is predominant in western melodic tradition.

• Resolvetheleadingnotesasshowninb1(alsop81,Ex2).

Dominant 9th chord with the root omitted (VII):

• Omittherootinthedominant9thchordsbelowandthenresolvetheleadingnotes;seep81,Ex3.

• Thedominant9thchordwithminor9thand the root omitted forms a dimin-ished7thchord.Labelthediminishedchordsinb3,5and7?

Spacing and resolution of 9th chords

B°7 is formed

&

?

G9

œG7

˙œ

œ

C

˙œ

?

C7

˙

F

˙

?

E7

˙

Am

˙

?

Eb7

˙b

A b

˙b

?

D7

˙

Gm

˙

?

F7

˙

Bb

˙b

Choose 9 or b9

major 9th when the chord resolves to a major triad

a

b

12


260

Spacing and resolution of extended and altered chords

In the examples below you will practise the spacing and resolution of dominant chords with augmented or diminished fifths as well as13thchords;seep81,Ex4.

• Placethe#5th at the top of the chord – which is most common when the 7thisused.Practisethetwoalternativewaystosolvethe#5 chord, ie with ascendingordescending7th;seethetwofirstbarsoftheexerciseandp81,Ex 4.

• Inthe13thchord,placethe13thnoteatthetop–whichisactuallytheonlyfour-partpossibilitywhentherootisinthebass;seep81,Ex1.The13thmayhereberesolveddescendingtotherootinthechordofresolution.

IntheTchaikovskyexamplebelow,youwillpractisetheresolutionofthe7thchordinacycleoffifths;seep81,Ex5.

• Bars1–3:Completetheaccompanimentwithtwopartsasshowninb1.

• Bars4–8:Omitthe5thanddoubletherootineverysecond7thchordinthecycleoffifths.Beginwithacomplete7thchordwiththe3rdatthetopinb4,andyoushouldmakeaversionmatchingTchaikovsky'soriginal.

14

13

&

?

˙#œ

˙

œ

G7# 5

˙œ

˙

œœ

C

˙

C7# 5

˙

F

˙b

Eb7# 5

˙b

Ab G7b 5 C

˙

A13

˙

D

˙

F7b 13

F7# 5( )

˙b

Bbm

alternative resolution

ascending 7th descending 7th b5th in the bass the 13th descending to the root

Tchaikovsky:RomeoandJulia

Original:Db major


resolve the 3rd to the 7th and vice versaadd two more parts

begin with a complete D7

&

&

?

b b b

b b b

b b b

c

c

c

183 Eng.hn.&Vla.

Eb/B b

ÓF dolce

˙

Hn.

pŒ

˙ œœ

Œ ˙ œKb.+Vc.&Fg.8va

˙ Ó

B b/A b

œ œ œ œ

Œ ˙ œ

pizz.

˙ Ó

E b/G

œ œ ˙

Œ ˙ œ

˙ Ó

D7

˙ œ œ

Œ ˙# œ

˙ Ó

G7

˙n ˙

˙ Ó

C7

œ œ œ œb

˙ Ó

Fm7

œ œ ˙b

(-5)

˙ Ó

Bb7

˙ ˙

˙ Ó

Eb

œ

œCb.+Vc.&Bn.8va

b5)

261


Add the two inner parts in the exercise below in order to form a four-part back-ground,ieatotaloffivepartstogetherwiththemelody.

• In7thchordsthe3rdor7thmay be omitted if they appear in the melody, since thebackgroundsoundscompleteevenwithoutthem.

• Ifyoufollowthebasicprinciplesofchordspacinginfourpartsandconsiderthemelodynotesinthe7thchordsattheplacesmarked,youshouldarriveatthesameversionasMozart.

• Theexerciseillustratesthattheprincipleinthe1stpointaboveisn'tfollowedasarule.Thevoice-leadinginthebackgroundcansometimesbeconsideredmore important.

Mozart:SerenadeNo12,Allegro


Altered chords

15

leading note resolution

the incomplete dominant with diminished 5th (or Italian 6th) – Mozart doubles the 7th.

the note marked should be omit-ted in the four-part background

&

&

?

b b b

b b b

b b b

42

42

42

Ob.

pjœ

Kl. 1&2

‰

Fg. 1&2

‰

33œ œ œ œ œ œ

˙

Cm

˙˙

œn œ. œ. œ. œ. œ.

œ Œ

G7

œ Œ

œ œ œ œ œ œ

œ œ#

Cm

œ

D7-5

œ

œn œ œ œ œn œ

œ Œ

G

œ Œ

œ œ œ œ œ œ

˙

Cm

˙

&

&

?

b b b

b b b

b b b

..

..

..

..

..

..

38

œ œ. œ. œ. œ. œ.

˙

C # ˜˙#

œ œ# œ œn œ œ(str)

œ œn

Gm/D D7

˙

œ ‰

œ ‰

Gm

œ ‰

Jœ

‰

‰

œ œ œ œn œ œ

œ œ

C7

˙

œ œ œn œ œ œ

œ Œ

Fm

œ Œ

&

&

?

b b b

b b b

b b b

..

..

..

43 œ œ œ œ œ œ

œ œ#

Fm

œ

no 1D7-5

œ

œn œ œ œ œn . œ.

œ Œ

G

œ Œ

œ œ œ œ œ œ

˙

Cm

˙

œn œ. œ. œ. œ. œ.

˙

G7

˙

œ œ œ œ œ œn

œ3

œ œ œœ3

œ œ œn

Cm

œG7

œœ œ

œ ‰

œ‰

œ

Cm

œ ‰œ

7

Cl.

Bn.

(close)

b5

b5

262

Writearrangementsofsomelengthwithaccompanimentforvariousensemblesusing melodies that you choose or compose yourself. The following list includes examplesofinstrumentsandfunctionsforarrangements:

melody vocalorstring/windinstrument

2ndparttothemelody vocalorstring/windinstrument

single line background string/wind instrument

chordal background two or three-part strings/winds

accompaniment strings/winds or chordal and bass instruments

The accompaniment may – as in the exercises in this chapter – be notated. If you prefertogiveemphasistosecondpartsandbackgrounds,theaccompanimentmay be notated using chord symbols for eg guitar/piano.

Formthearrangementwithmelodyandaccompanimentasthebasis.Embellishby adding backgrounds and second parts as ‘islands’ in the arrangement. The principles are described in the chapter on two-part writing on p 20–21 (Ex 1), 34–35(Ex1)andinthischapteronp68–69(Ex2).

Seealso‘Planningandnotation’onp121and‘Introductionandcoda’onp125.

Arrangements of some length

16


263


Figures of accompaniment

Write arrangements for two or three instruments where one of the parts plays anaccompanyingrollinthemannerdescribedonp82–83.Belowyouwillfindsuggestions of songs suitable for this type of arrangement.

a) for three instruments, ie melody, accompanying part plus bass:

• Beginwithathreepartchordalbackgroundplus bass (as the basis of the ac-companiment). The chords in the three-part background are then arpeggiated inthemannershowninEx1and2onp83.

• Remembertousecompletethree-partchords,egatchordchangesorat‘im-portantnotes’(seep83,Ex2).

• Choose the figure of accompaniment best suited to themelody youhavechosen.Onp82–83therearefurthersuggestionswhichcanworkasabasicmodel. These can then be adapted if you eg should prefer to use eighth note movementinsteadofthesixteenthnotesoftheexample.

b) for two instruments:

• Makeuseofeg

‘Albertibass’(seep83,Ex3)

onevoiceusingtripletmovement(seep82,Exa)

tremolomovement(seep83,Ex4)

• Atthemoreimportantphraseendingsthevoicecanactasabass(seep83,Ex 4).

• Theharmonicnotes–ofgreaterimportance–foundinthemelodymay be omitted from the accompaniment if the chord is a 7th chord – compare ex-ercise 15 on p 261.

AsFestiveaComelyShepherdess p238 TheChamberlainIsNowOurSquire p276 Musette p 234 WishSong p264

17


264

Practise making the transition from close to open position, so that the inner voices move according to the principle of ‘least possible movement’, as illustrated in the first example:

Add two inner parts to this arrangement for two trumpets and two trombones.

• Inbars5–8youcanwhenrequiredchangebetweencloseandopenpositions,inorderforthepartstomovewith‘leastpossiblemovement’;seep87,Ex1and 2.

WISH SONG Traditional

1

2


Chapter6

&

?

b b

b b

n b

n b

n

n

str spr

C

˙ ˙˙ ˙˙ ˙w

G

wwww

Gm

˙ ˙˙

w

Cm

w

wF

˙

Bb

˙˙˙

˙F

w

wAm

˙

E/G#

˙˙˙ ˙#

Am

w

w

openclose

&

?

# #

# #

43

43

œ œŒŒ

strD

œ œ œ œ

˙ .

Em7

œ œ œ œŒ

˙ œ

A7

œ œA

œ œ

˙ œ

D

˙ œ œŒ

˙ œ œ

&

?

# #

# #

5 D

œ œG

œ œ

˙ œ

D

œD7

œG

œGm6

œ

œ œn œ œb

D

œ œA7

œ

˙ œ

D

˙

˙

Inner parts: same rhythm as the melody

Inner parts: same rhythm as the bass

close

265

Four-part writing • 6

3 Addtwoinnerparts–2ndoboeand1stbassoon–totheexcerptbelow,andinb11-13addabackgroundplayedbythetwobassoons(rhythm:h ).

• The2ndoboemayfollowthemovementofthemelodyinb1and5-6.

• Startinopenpositionandwhenrequiredchangetocloseposition;seep87,Ex1and2.

VARIATIONS ON A THEME BY JOSEPH HAYDNBrahms


inner parts: two-part background ending in b 13

inner parts: same rhythm as the bass

&

?

b

b

b

b

4

2

4

2

1.œ œ œ œ

œ

œ

œ

Bb

Ob. 1Ob. 2

Bn.1Bn.2

Vc.&Cb. pizz p

Andante

œ œ

œ

œ

Eb Bb

œ œ

œ œ# œ œn

F D7 Gm

.œ œ œœ œ

œ

œ ‰

J

œn

Cm C

&

?

b

b

b

b

5œ œ

œ œ œ

œ

œ

Œ

Bb/F F

f

%

.œ œ œ œ

œ

œ

Bb

œ œ

œ

œ

Eb Bb

œ œ

œ œ# œ œn

F D7 Gm

&

?

b

b

b

b

.

.

.

.

9

.œ œœ œ

œ œ

œ

Cm Bb/F F

fi

œ

j

œ ‰

œ

œ

œ

F7/Bb Bb

no 3

.œ œ œ œ

œ

Œ

F

Ob. 2

p

Ob. 1, 2

.œ œ œ œ˙n

œ

Œ

Bb °7/F

&

?

b

b

b

b

13

.œ œ œ œ

˙b

œ

Œ

F7

œ

.

œ

.

œ

œ œ œ

Bb F Bb

π

.œ œ œ œ

œ œ œ

Eb

.œ œ œ œ

œ œ œ

Bb

&

?

b

b

b

b

17

.œ œ œ œ

œ ‰

J

œn

Cm C7

%

œ œ

‰

J

œ

œ

Gm/F F

∑

∑

fi

œ Œ

œŒ

266

Writeanarrangementforwoodwindquartet,consistingofegoboe,clarinetandtwobassoons,tothemelodybelow.Inordertoachieveformvariationpractisedividing the whole arrangement into ‘boxes’ with different content:

• BOX 1:Dividethefour-partwritingintotwopartsmoving(partly)inparallelmotion and two neutral parts consisting of ‘pedal point in an inner part’ and abassthatplaystherootofeachchord;seep91,Ex1.

• BOX 2:Usechoraletechnique(possiblyalsoq);seep93,Ex1.

• BOX 3:Asacontrasttothefour-partwriting,youcanbegintheBsectionusing only two-partwritingandlettingtheclarinetplaythemelody.Thenadda high pedal point for a few bars and after this add the bass, in the manner indicatedinthescore(seealsop91,Ex3).

Traditional

4

Parallel motion and pedal point in the inner parts


&

?

b b

b b

42

42

Ob.

Kl.

jœFg. 1

Fg. 2

‰BOX 1

Bb

œ œ œ œ œ œ œ

BOX 2

E b/Gœ

F7 sus

œ œF7

œ œBb

œ ‰ jœ

BOX 1

Bb

œ œ œ œ

&

?

b b

b b

..

..

6Bb

œ œBb/Ab

œ

BOX 2

Eb/Gœ

F

œBb/D

œEb6 no5

œF7

œB b

œ ŒKl. melodi:

BOX 3

F7

œ . œ œ œ∑

∑

Bb

œ œ œœ

∑

&

?

b b

b b

..

..

11F7

œ . œ œF7/Eb

œ

Œ ‰ Jœ

Bb

œ œ JœHϒ

Ob.

BOX 2

jœ

œ œJœ

Cm

œ œF7

œ œBb

œ Œ

Cl.

Bn. 1

Bn. 2

two parts moving (partly) in parallel motion‘pedal point in an inner part’ the bass playing the root of each chord chorale technique (also q ) repeat bar 1

chorale technique two-part writing

chorale technique (also q )

add a high pedal point

Melody in Cl.:

B°7

Cm/Eb

267


Inthefollowingmelodicexamplesyouwillpractisedifferentmethodsfortreat-ingnonharmonicnotes,whicharedescribedonp99,Ex1.Startatthenoteofresolutionandworkbackwardsusingparallelmotion(seep243inthechapteronthree-partwriting).

The nonharmonic notes and their resolutions move in parallel 3rds or 6ths – ac-cording to the best alternative – while two parts remain stationary or repeat notes:

The nonharmonic notes and their resolutions move in parallel motion – either as six-three chords or six-four chords, depending on what alternative is best:

&

?

# #

# #

D

˙ œ œ œ œG

˙D

˙

&

?

b b

b b

B b

w œ œ œ# œCm7

w/HE7

œnF7/C

˙ .

Nonharmonic notes – using parallel motion

&

?

b

b

Dm/Fjœ

Jœ

Gm

œ . œ

Gm6 no5

œDm/A

œ . œA7

œ

œ . œ Jœ

Dm

œ . œœ

Jœ œ

parallel motion in three parts

5


a

b

&

?

F

œ

œ

?/G

œ œ œG7

œ

˙ .

C

˙˙

parallel motion in three parts

define the chord formed here

Webber:IDon'tKnowHow to Love Him

Berlin: White Christmas

E7/B

268

Asanintroductiontosubsequentexercisesyouwillresolvedeceptivecadencesinthefollowingexercises;seep89,Ex3.

• Resolvebothleadingnotesinthecompletedominant7thchordasthoughthesubsequentchordwerethetoniciewiththe3rdascendingandthe7thdescending.Alsoletthe5thinthedominant7thchorddescendbysteptothe3rdinthechordofresolution–whichwilldoublethe3rd;seeb1inexamplebelow.

• Voice-leadingandspacingsarenotaffectedbyachromaticpassingnoteinthe bass.

6

The deceptive cadence

AS FESTIVE A COMELY SHEPHERDESS

Addtwoinnerpartstothemelodyandyourownbasspartonp238,playedbytrumpet(orfrenchhorn)andtrombone.

• Inordertocreatevariationinthearrangement,use,whereeachpart–con-sistingofeg4bars–formsa‘box’withaparticularcontent.

Here are some examples:

– four-partwritingdividedintotwo parts in parallel motion and two neutral parts;seep91,Ex1.

– youmay,ifyoulike,makeuseofatwo-part background plus melody that youwroteinthechapteronthree-partwritingonp244.ThismeansthatthebasspartyouhavealreadywrittenintheBsectionwillbeomitted.

– inordertoincreasetensionattheendyoucanuseparallel motion in three parts–seetheexercisesonthepreviouspage–butalsoEx1onp99.

• Youmaywhenrequiredaltertheharmonyandthebasspartyouhavewrittenearlier.

7

&

?

˙

œ

˙

œ

œ#

G7 G# o7(

˙

œ

˙œ

Am)

˙#

˙

D7

close

˙

˙

Em

˙

˙

A7

open˙

˙b

Bb

˙

œb œn

Eb7 E o7

close

˙b

˙

Fm

˙

œb œn

Bb7 B o7

close

˙b

˙

Cm

˙#

˙

B7open

˙

˙

C

doubled 3rdall four notes


269


Simplified rhythm in the inner parts

MINORE

Addtwoinnerpartstothemelodyandthebasspartyouhavewrittenonp237,playedbyviolinandviola.

• StudyExamples1–4onp93inordertoobservehowtovarytheintensitythroughone,twoorthreepartsmovingwiththesamerhythmasthemelody,egbyusingchoraltechniqueatthecadences(p93,Ex1).Itmeansthatyousometimeshavetosimplifytherhythminoneorbothoftheinnerparts.

Alsomakeuseof‘boxtechnique’,egtwo-partwritinginthe1stAsection(b1-8),four-partwritinginBsection(b15-22)etc.

Remember that the rhythm of the inner parts should feel natural and well suited to the style.

• ForresolutionofthedeceptivecadenceB7–Cinbars27-28seeExercise6.

• Alter,whenrequired,theharmonyorthebasspartyouhavewrittenearlier.

9

Practisespacingchordsthatmovedirectlytowardsthenextchordtoamelodywithlargermovement.Inthiswaythevoice-leadingwillbesmoothatthechordchanges. The aim here is to avoid movement in all voices at the same time; see p93,Ex3and4,b3.

When spacing the chord, start with the melody note directly before the chord change – marked below – and use the same rhythm for the inner parts and the bass part; see bar 1.

8


&

?

b b

b b

C

œ œF

˙˙ ˙

˙ ˙˙ ˙

Am

œ œ

Dm

˙

˙ ˙

Bb

œ œF

˙

˙ ˙

Gm

œ œ œD

˙#

˙ ˙

&

?

# #

# #

n n b b b

n n b b b

n n n

n n n

A7

œ œ œ œ

˙

D

˙

˙

Bb7

œ œ

˙

E b

˙

˙

E7

œ œ# œ#

˙ .

Am

˙ .

˙ .

270

11

&

?

# #

# #

Am

œ œE7

œ œ˙ œ#

œ˙ œ

Am

˙ .˙ .

˙ .

D

œ œG

œ œ˙ œ

œœ

D/A

˙A

œ˙ œ

˙ .

Simplified rhythm in the inner parts

The following exercise includes melodic movement from the3rdor7thofachord to another note of the chord. Complete the tenor part starting at the note circled,andletthistakeoverthe3rd/7thfromthemelodicpartinthemannerdescribedonp93,Ex4(b1–2).

Even if the above technique is very common it shouldn't be treated as a neces-sity, as the 3rd's/7th's ‘completing’ function is the most important when the new chord enters.

Writefour-partarrangementsorcomposeinfourpartsfordifferentensembles.

• Usethetechniquesyouhavestudiedearlier,aswellasthemethodsofcreatingavariedformdiscussedonp97,Ex1–4.

• Agoodmethodistoshapethebasspartfirstandthencompletewiththeinner parts.

• Beginbymakingaplanfortheformofthearrangement;seep96,whereyouwillalsofindalistofvariationpossibilities.Seealso‘Planningandnotation’onp121and‘IntroductionandCoda’onp125.

10


271


Four-part writing with melody in a higher register

Addtwoinnerpartsforviolinsinthetreblestaffbelowasshowninthepick-upbar.ThiswillcompletethestringsectionofTchaikovsky'sscore.*Themelodyisplayedinahighregisterandthereforeitisimportantforthebassandinnerpartstosoundcompletealsowhenplayedwithoutthemelody;seep94–95.

• Inordertoachieveacompletesoundingthree-partwritinginbasstogether with the two inner parts the triads shouldincludethe3rdofthechord–evenifitalsooccursinthemelodicpart;seep95,Ex2.

12


Tchaikovsky:VariationsonaRokokoTheme,I

*intheoriginalscoretheviolaisdoublingthe2ndviolinattheoctave.

‘supporting’ chords following the rhythm of the bass

&

?

b

b

b

b

4

2

4

2

œ

œ

J

œ

œ

J

œ

Bb/D

p

.œ œ

œ

‰

œ ‰

J

œn

Eb C/E

cresc.

.œ œ

œ

‰

œ‰

J

œ#

F D/F #

Vla.

.œ œ

j

œ

‰

œnœ#

œœ

J

œ

‰

œ

J

œ

‰

Gm

&

?

b

b

b

b

4

Œ ‰

œœ

Œ ‰J

œ

Gm

F

.œ œœ

‰

œ

‰ J

œ

F/A

.œ œœ

‰

œ

‰

J

œ

Bb Bb/D

&

?

b

b

b

b

7.œ

œ

j

œ ‰œ œ œ œn

J

œ ‰

œ

J

œ ‰

unison

∑

∑

272

Harmonizing nonharmonic notes

IntheMozartexamplethatfollows,youwillharmonizeeachappoggiaturausingasecondarydominantofthesubsequentchord;seep99,Ex3.Theappoggiaturaaremarkedwithquestionmarks.

• Add the two innerpartsmissing in the score thatapply to the secondarydominantyouhavechosen–seethefirstbaroftheexample.(Mozartomitsthe root in all of these chords.)

• Spacethechordseitherinopenorcloseposition,dependingonthealternativethatbestsuitsthesubsequentnoteofresolutionforeachpart.

&

?

b

b

b

b

b

b

4

2

4

2

41j

œ

J

œ

‰

‰

œ œ‰

j

œ

œ œ

‰

J

œ

œ œ

Œ

‰J

œ

œ

Bb7

Eb?

œ œ ‰

j

œœ

‰

J

œ

œ

Œ

‰

J

œ

œ

Fm?

œ œ

‰

j

œ

œ

‰

J

œ

œ Œ

‰

J

œ

œ

Bb?

œ œ‰

j

œ

œ

‰

J

œ

œ

Œ

‰J

œ

œ

Eb?

&

?

b

b

b

b

b

b

46œ

œ

‰

j

œœ

œ

‰

J

œ

œœ Œ

‰

œ œn œ

Ab6

fp

œ œ‰

j

œ

œ

‰

J

œ

œ Œ

‰

œ œ œ

Cm?

fp

œ œ ‰ j

œœ

‰

J

œ

œ

‰

j

œ

‰

œ

œ

œ

Eb/Bb Bb7?

fp

œ

œ

œ

œ

Eb

Mozart:SymphonyNo25,II

HarmonizethesuspensionsintheBsectionof‘OldmanNoah’usingasecond-arydominant,inthesamemannerastheexerciseabove.Thistime,however,allow the root of the original chords to sound in the bass against thesecondarydominant,thuscreatingasharpdissonance;seep99,Ex3,b8.Labelthechordsusingchordsymbolsincludingtheappropriatebassnote.

& b 42D7

œ œ œ œ

?

Gm

œ

Gm

œ œC7

œ œ œ œ

?

F

œ

F

œ œ

14

13


C.M.Bellman:Fredman'ssongNo35

273


In the followingmusic example youwill practise harmonizing nonharmonicnotes;seep99,Ex2–3.Imaginethefour-partwritingasarrangedforstringsor winds.

• Noticethatyouonlyhavetoaltertheharmonyattheplaceswithnonharmonicnotes.

The nonharmonic notes should be harmonized by the use of chords related by a fifth to the original chord:

In the following example there is also the possibility to harmonize the nonhar-monic notes using a secondary dominant (eg dominant to VI):

• Forasmootherbassline,trytoshapethebasspartusingstepwisemovementwhenpossible(thephraseendinghowevershouldbestrong).

strong ending

15


b

a

C.M.Bellman:Fredman'sSongNo21

&

?

b

b

b

b

b

b

j

œ

œ œœ œ

Eb

.œ œ œ œ

Bb Eb

?

œ œ œ œ

Eb Eb

?

œ œ œ

œ

Ab Bb

&

?

b

b

b

b

b

b

5

œ œœ œ

Eb

.œ œ œ œ

Bb Eb

œ œ œ œ

Cm Ab Bb7

.œ

Eb

secondary dominant

secondary dominant with the root omitted

&

?

#

#

.œ œ œ

Em

?

.œ œ œ

B7

?

œœ œ#

Em Am B7

.œ

Em

274

Writeafour-partarrangementformixedchoirto‘Bundeslied’orasongofyourown choice, where all parts have the same text.

• Use the techniques youhavepractised inExercise14-15onharmonizingnonharmonic notes.

• Change,whenrequired,betweencloseandopenposition,inorderforthepartstomoveaccordingto‘leastpossiblemovement’;seep87,Ex1and2.

• Shapethebasslineusinginversionsofthechordswhensuitable.(Youmayusestepwisemovement,egb3-4and17-18).

BUNDESLIED

16

Harmonizing nonharmonic notes


Mozart(KV623a)

bass moves in parallel, see p 267, Exercise 5a

suspension: see p 272, Exercise 14, b 2

alto moves in parallel, tenor and bass use a pedal in octaves

&b

4

3 ˙ œ

Lasst uns

F

˙ œ œ

mit ge

F( )

˙ œ

schlung nen

Bb D7

œ œ œ Œ

Hän den,

Gm

- - -

&b

5

˙ œ

Brü der,

C7

˙ œ œ

die se

C

˙ œ

Ar beit

F/C Dm7 C7/E( )

œ œ œ Œ

en den

F

- - - -

&b

9

˙n œ

un ter

G7

˙ œ

fro hem

Gœ

œœn

Ju bel

F Dm/F G7

˙ Œ

schall.

C

-- - - -

&b

13

˙ œ

Es um

C

œ œœ

schlin ge

C

˙

œœ

die se

F Dm Gm/Bb

œ œŒ

Ket te,

C

-- - -

&b

17

˙ œ

so wie

C C7 F

œ œœ

die se

Gm C

˙

œœ

heil' ge

F Dm Gm/Bb

œ œŒ

Stät te,

C

- - -

&b

21

˙ œ

auch den

C7 F

˙ œ

gan zen

Bb F

œ œ œ œ

Er den

Gm/Bb F/C C

˙ Œ

ball,

F

- - -

&b

25˙ œ

auch den

Bb F

˙ œ

gan zen

C7 C # ˜ Dm7

œ œ œ œ

Er den

Gm/Bb F/C C7

˙

Œ

ball.

F

- - -

alto moves in parallel, tenor and bass use a pedal in octaves

deceptive cadence, see p 268, Ex 6

275

Independent parts • 7

Practise the use of oblique motion in the following example, where the melody repeats the same note. The exercises may be composed as two-part or three-part writing, as Examples 1 and 2 on p 103 illustrate.

HintsAlthough the movement in the second voice may consist of chord notes only (p 103, Ex 2, b 1), it is more common to mix chord notes with eg passing or neighbour notes in order to achieve a stepwise movement:

The second phrase illustrates that a faster movement may sometimes be neces-sary in order to ‘land properly’, and that the voice is not bound to the rhythm of the melodic part.

When shaping the second voice, think of it as a melody

& œœAm

œ œ œ œœ œ œ œ

E7

œ œ# œ Œ œ˙ Œ œAm

œ œ œ œœ œ œ œ œ#

E

˙ .œ œ# œ#

passing noteneighbour note

&# # 42

œ œD

œ œ œ œA

œ .Djœ

Em

œ œA7

œ œ œD

œ jœ

& b cDm

œ œ œ œGm6

œ œ ˙A7

œ œ œ œDm

œ œ ˙

C. M. Bellman: ‘Song at Nightfall’, Fredman's Song No 32 (b 1–4)


1

a

b

Chapter7

276

Write a two-part arrangement to the melody below for two voices without ac-companiment.

• Useobliquemotionwhenthemelodyisrepeatingthesamenote;seep103,Ex 1 and 2.

• Allowthesecondparttoactasabassattheendofthephrases.

The Chamberlain is now our squire

2

&

#

# c ..

œ œ

The

œ œ œ œ œ

Cham -beer

ber -sets

lainall

isour

D

œ œ œ œ

nowheads

ouron

Squire,fire,

a'tis

A D

œ œ œ œ œ œ

first -strong

rateas

Squirebeer

iscan

G D/A A7

&

#

# ..

1

.˙ œ œ

he, his

D2

.˙

œ

be. The

Dœ

œ œ œ

Par - son well may

D

œ œ œ œ

fret his fill strike

G D

&

#

#œ œ œ œ œ œ œ

up, mu - si - cian's

D G

.˙ œ œ

bench! for

A

œ œ œ œ œ œœ

Mol - ly here just

D

&

#

#

œ œ œ œ œ

can't keep still, the

A D

œ œ œ œ œ œ

sau - cy lit - tle

G D/A A7

˙

Œ

wench!

D

Oblique motion


J. S. Bach, Cantata 212,No2(Aria)

277


& 43jœ œ œJœ œ œ

A7

œ œ œ œ# œœ# œ œ œ

Dm

œ . jœ œ œG7

œ œ œ œ œC

œ .

Practise making movement from 8–7, ie a movement from the root to the 7th andonwardstothe3rdinthenextchord;seep103,Ex3.Addalsochromaticmovement. Play the chords and sing the part.

Write the second part to the melody examples below, and make use of the move-ment from 8–7. Try also to apply chromatic movement.

Movement from 8–7

3

&A7 D Fm Bb7 Cm F7 D7 G

4

movement from 8–7 movement from 8–7

&#

43 ..œG

œ œ œ œ œC

œ œ œD7

œ œ œG

˙movement from 8 –7 including

chromatic movement


b

a

278

&C

˙ ˙˙ ˙

Dm˙ ˙Bb

˙ ˙bAm

˙ ˙Gm

˙ ˙bF

˙ ˙

Contrary motion

Use‘leapofthe3rdorfilledleapofthe3rdincontrarymotion’inthefollowingexercises, as shown in b 1 (see also ‘Hints’ on the next page):

By leap:

By step:

Practise writing longer stepwise contrary motion, where the above is included asthenucleusbutthetritoneistheintervalspan;seep105,Ex3andthefirstexample below.

Practise writing stepwise contrary motion which – as opposed to the above – forms a dissonance against the melody all the way to the resolution – see the firstexample.Here,thefirstfournotesinthetwo-partwritinginExample3onpage105,areused.

You can do exercises 6 and 7 in three parts by adding a part in parallel motion with the melody or the second part.

&

C

œ œ œœ œ œ

Em

œ œ# œE7

œ œ œDm

œ œ œA7

œ œ œ

& b # #G7

Œ ‰ œ œ œŒ ‰œ œ œ

C

˙ .˙ .

C7

Œ ‰ œ œ œF

˙ .A7

Œ ‰ œ œ œD

˙ .

7

6


5

& b b b b b

tri tri

G7

‰ œ œ œ œ œ‰œ œ œ œ œ

C

˙ .˙ .Bb7

‰œ œ œ œ œ

Eb

˙ .D7

‰ œ œ œ œ œ#Gm

˙ .

tritone tritone

279


Practise writing an entire phrase in contrary motion, ie where every ascending interval in the melodic part becomes descending and vice versa (however not necessarily with equally large intervals). ‘Filled leap of a 3rd in contrary motion’ is included as an important ingredient, see hints below – but you may also use other types of contrary motion.

• Inthisexercise,thedistancebetweenthepartsmay be as large as two octaves.

8

& b b 42 jœ

Bb

œ œ œ œ œ œ œE b

œF7

œ œ œ œBb

œ ‰

possible similar motion

Traditional

HintsFirst find the places in the melody where the ‘leap of a 3rd or filled leap of a 3rd in contrary motion’ could be used.

Take out each individual ‘piece of melody’ and ‘play it backwards’ as a contrary voice. Then, choose the places which best suit the context and use the technique combined with others.

The result may sound like this:

It is therefore important to be aware that the technique is only possible or desirable when used sparingly.

& 42Am

œ œ œ œ œ œE

œ œAm

œ œ œ œDm

œ œE7

œ œ#

Am

œ œ

&

&

42

42

œ œ œ

1

œ œ œœ œ œ

œ œ œ

œœ

œ œ

∑

œ œ œ œ


œ œ œ œ#

∑

œ œ

∑

➛ ➛


& 421

Am

œ œ œœ œ œ

œ œ œœ œ œ

E

œ œœ# œ

Am


Dm

œ œE7

œ œ#œ œ œ

Am

œ œœ œ œ

280

Write an arrangement without accompaniment to ‘Home-sickness’ eg for violin and viola.

• Bars1-8:Youmayvarythephrasesbytheuseofbothtwo-partwriting(pos-sibleusing‘leapofa3rdorfilledleapofthe3rdincontrarymotion’)andsingle line background* (eg h . | h or h q | h ).

• Bars9-14:Use‘leapofa3rdorfilledleapofthe3rdincontrarymotion’;see‘Hints’ on the previous page.

home-siCKness Grieg, Lyric Pieces

Contrary motion


9

*seep34-35andp227,Ex21.

&

B

#

#

4

3

4

3

œ œ

Andante

p legato

œ œ œ œ œ

Am7

˙ œ œ

Em

œ œ œ œ œ œ

Gm6

&

B

#

#

4

˙ œ œ

A

œ œ œ œ œ

C

˙ œ œ

F #7C

œ- œ

-œ-

œ-

œ-

j

œ œ

-

B7

&

B

#

#

8

Fine

˙

œ œ

Emœ œ œ œ œ ˙

œ œ œ œ œ œ œ

&

B

#

#

12˙

œ œ œ œ œ œ œ œ œ œ œ œ.œ

J

œ œ œ#

B C � 7 F #7b

5/C

&

B

#

#

16

.œ

J

œ œ œ#

B C � 7 F #7b

5/C

π

œ œ œ œœ

‰ Œ

B

D.C. al Fine

œ œ œœ

∑

∆7

∆7

two-part writing single line background (ending in b 4)

two-part writing acting as a bass line, see p 31, Ex 1

continue freely

leap of a 3rd or filled leap of the 3rd in contrary motion (ending in b 14)

281


AddasecondparttotheBsectionofthemelodybelow,usingalongerstepwisephraseincontrarymotionwithsomechromaticmovement;seep105,Ex3.

Inordertomakeafunctionalsecondpartmovingbystepincontrarymotion,you should, in the next example, try to ‘coax’ the rhythm and also use chromatic movementwhenrequired;seep105,Ex4.

Write arrangements where you make use of contrary motion in order to increase the tension at the closing phrase, ending in the manner described above.

& b b16jœ

‰œ . œ œ œ œ œ œ œGm

Jœ

œ œ œ œ .œ .

stepwise (& also chromatic) contrary motion

choose the harmony

& b b 43 ..9

F7

œ œ œBb

œ œ œ1

F7

œ œ œ œBb

œ œ œ œ

2F7

œ œ œ œ œBb

œ œ Œ

10

11


282

Writeafour-partarrangementtothesongbelow,using‘filledleapofthe3rdincontrarymotion’combinedwithparallelmotion;seep105,Ex1,b3.

Hints

Begin by shaping the second voice in parallel motion:

Then, write the 3rd voice in contrary motion. Here are two possibilities which may when required be transposed at the octave:

A further voice can be added – in that case in parallel motion with the contrary voice, ie the result will be two parallel voices in contrary motion:

Notice that doubled 3rds occur in this type of voice-leading – which shouldn't be regarded as incorrect; see p 89, Ex 2.

Feel free to use this technique not only in the cases marked.

Scandinavian/German folk song

Contrary motion


&

?

b

b

F

œ œ œœ œ œœ œ œ

œ œ œœ œ œœ œ œ

alternative 1 alternative 2

&

?

b

b

F

œ œ œœ œ œœ œ œœ œ œ

12

& bF

œ œ œœ œ œ

&

?

#

#

83

83

G

œ œ œ

œ .

œ œ œ

œ

œ œ œ œ œ œ

G

œ œ œ

œ œ œ

œ œ œ œ œ œ

G

œ .

parallel motion & ’filled leap of the 3rd in contrary

motion’

double parallel motion in contrary

motion

choose the harmonychoose the harmony

283


Addtwoinnerpartsinparallelmotiontothemelodyandbasspartusingmodaltechnique – either in 3rds or 6ths.

• Let the innerpartsmovepredominantly stepwise using the natural minor scaleordorianmode;seep107,Ex5.

• Thestepwisemovementmay when required be broken by chromatic motion withoutlosingthemodalcharacter;seep107,Ex2,b2.

• Ifthemelodiclineisconvincingand‘landsproperly’attheendofthephrase,dissonances may certainly occur between the melody and the inner parts in parallel motion.

Addachromaticinnerpartabovethepedalpointprovided,andthencompletetheexamplefreelyinthreeparts;seep106,Exbandp107,Ex4.

Traditional

13

14

Stepwise and chromatic motion – Modal technique

‘Limu, Limu, Lima’ Traditional

&

?

b

b

42

42

œ œ œ œ

˙

œ œ

˙

œ œ œ œ

˙

œ œ

˙


&

?

#

#

42

42

œ œ œ

˙

œ œ œ

˙

œ œ

˙

œ œ œ œAm

œ œH7

œ œ#Em

œ œ

complete freely

B7

284

Addaninnerparttothearrangementbelowinordertopractisechromaticmo-tion.

• Bars1–4:Useachromaticpassingnotetofillinthemajorsecondbetweentwochordnotes;seep106,Excandp107,Ex3.Thepassingnotemayhavea value of anything between eighth note and half note. How is the character of the piece affected by the length of the passing note?

• Bars5–6:Use‘chromaticmotionovercolourings’within one and the same chord;seep106,Excandp107,Ex3.Starteitherontherootandusede-scendingmotionorstartonthefifthanduseascendingmotion.

Write an arrangement of some length where you make use of stepwise and chro-maticmotionegattheintroductionorthecoda;see‘Planningandnotation’onp121and‘IntroductionandCoda’onp125.

Stepwise and chromatic motion


15

Traditional

16

&

?

b

b

43

43œ

Œ

F

œ . jœ œ œ

˙ .

Dm

œ œD

œ

˙ œ#

Gm

œ . jœ œ œ

˙ .

Gm6

˙D ˜œ

˙ œ

C

œ . jœ œ œ

˙ .

œ œ œ

˙œ

&

?

b

b

7G7

œ .jœ

C7

œ œ

˙ œ

F

˙ Œ

˙

chromatic passing note (p 106, Ex c, b 1)

chromatic passing notechromatic motion ’over colourings’ (p 106, Ex. c, b 2)

D°7

285


Addaninnervoicecreatinganappoggiatura,ieadissonancewithoutprepara-tion;seeExamplesonpage109.

descending appoggiatura: 4–3 (possibly with embellishment, eg 4–2–3):

descending appoggiatura: 9–8 (possibly with embellishment, eg 9–( # )7–8):

ascending appoggiatura (leading note):

Inthenextexampleyouwillwriteanappoggiaturathatdescendstothenotecircled in the inner part. This part will move in q . The example is a transposi-tion of Grieg's ‘Rigaudon’ from ‘Holberg's Suite’ which is notated in original onp109,Ex2.

Adding dissonance

&A

ww

Gm

ww

Eb7

wwb

b

Cm

ww

D7

ww

&D/F #

ww

#

G

ww

E7/G#

ww

#

Bb/F

wwCm/Eb

ww

b

&G

#4–5

ww

F

#7–8

ww

C7

#4–5

wwb

Em/G

#7–8

ww

D

2–3

ww

17


18&

Vl. 1 & 2

Vla.

œŒ

41

p

œ œ œ œ œ˙ ˙w œ>

œ ˙ œœ œ ˙ œ˙ . œ ˙ œ# œ ˙˙ ˙˙ ˙F

˙ . œ˙ .# Œ˙ . Œ

&˙

> sim.

˙˙ ˙#

Analys: Dm6

˙

E7

˙˙ ˙˙ ˙

Am

˙

F

˙˙

π˙˙ ˙

Em

˙

Dm

˙˙# ˙

E

˙

Analysis:

286

suspend

Inthefollowingtwoexamplesyouwillpractiseaddingsuspensions.Thenotescircled will be suspended, ie they will remain by being tied to the next chord in ordertoformadissonancewhichisresolveddescendingbystep;seep109,Ex1.

HintsIf a voice moves by step between two chord notes at a chord change, it can be held – suspended. Most often, a suspended dissonance is formed, eg 4–3 and 9– 8 in descending motion, or 2–3 and 7–8 when ascending.

&?

b b b

b b b

43

43

41 Hn. 1&2

p˙ .˙ .

Fg.

œ œ œ

˙ .˙ .

œ œ œ

œ œ . jœœ œ . Jœœ œ œ

œ œ œœ œ œ˙ œ

Fm

˙b ˙4 – 3

C

œ œ

&?

b

b

43

43

1

p

Kl. trio

˙ .˙ .

œ. œ. œ.

˙ .˙ .

œ. œ. œ.

œ œ œœ œ œ

œ. œ. œ.

œ Œ œ œœ Œ Œœ. œ.

Œ

&?

b

b

5 œ œ œ œ œ œŒ Œ œ

Œ Œ œ#

œ Œ œ œ˙ Œœ.

œ.Œ

œ œ œ œ œ œŒ Œ œ

Œ Œ œ

œ Œ˙œ.

œ.

Mozart:SerenadeKV375,MinuetNo1

Fm

˙b ˙C

˙by step

becomes:


Adding dissonance

add suspension

b

suspend

Mozart:Divertimento2(KVAnh.229),Trio

19

a

Bn.

Cl.

287


&

?

b

b

86

86

1Dm

œ jœ œ . œ œ

Exempel p�a f»orslag:

œ jœ œ .Gm

9–8

œ jœC7

4–3

œ . œ œF6 no5

#7–6

œ .F #d im

œ .

&

?

b

b

5Gm

4–3

œ jœA7

4–3

œ œ œDm

#7–8

œ jœ

Bb6 no5

#7–6

œ .

Gm6

2–3

œ . œ œ

A7

œjœ#

Dm

4–3

œ . œ .

Embellishthechordsbelowwithdoubleappoggiatura;seep109,Ex3.Agoodmethodistofirstspacethechordintheusualmannerbyaddingtwoinnervoices.Then, add ascending/descending appoggiatura to the inner voices in parallel mo-tion according to the instructions for the exercise:

Write an arrangement for two parts plus bass to the song below (or for four parts using the double appoggiatura as practised in the exercise above). Let the bass primarilyplaytherootofeachchord.Utiliseappoggiaturaandsuspensionsinorder to add colour and create movement in the arrangement.

• Theinnerpartsmay–afteracalmintroduction–formeighthnotemovement,where the notated appoggiatura and suspensions are included.

• UsethechromaticmovementwithinchordsaspractisedinExercises13and15onpages283–284.

• Feelfreetoaltertheharmonyandmakeappoggiatura/suspensionsatotherplaces than those marked in the score.

who Can sail wiThouT winD?

descending by step

&

?

6 – 54 – 3

F

w

w

Am

w

w4 – 39 – 8

Cm

w

w

D

w

w4 – 52 – 3

G7

w

w

C7

wb

w

Scandinavian folk song


ascending by step

20

21

Appoggiatura suggestions:

°7

288

Complementary rhythm – figuration

Write a second part to the following melodic excerpts, and activate it with com-plementary rhythm in the manner described on p 111, Ex 3 and 4.

Complementary rhythm to the dotted rhythm and ‘upbeat to the strong beat of the bar’ (Ex 4):

Activate the rhythm by ‘delaying the entry at a melody note with longer note value’ (Ex 3):

IntheBachexampleonp110andExample5onp111,thelowerpartshavebeenembellishedbymeansoffigurationtechnique.Usethesameprincipleinthepart below.

Returntoyourthree-partarrangementsof‘IKnowofaLovelyRose’(p231),‘Musette’(p234)and‘Minuet’(p235)inorderto,atsome places:

activate the rhythm in the inner part (or bass) with complementary rhythms or by figuration as in Exercises 22 and 23 above.

add tension and colour by using appoggiatura and suspensions as in Exercises 17–21.

• In the first instance, it is important to activate the rhythm ‘with upbeat’where rhythmical tension is required, eg when leading to a cadence or to the lastnoteinaphrase–inotherwords,nottoooften.Asfarasappoggiatura/suspensions are concerned, also consider where to place them so that they sound natural in the arrangement.

&#

43Em

œ œAm

œœ œ œ

Em

œ . jœ œ œ œD

œG

˙

upbeat to the strong beat of the bar

complementary to the dotted rhythm

&#

43

D7

œEm

œC

œD

œG

˙ .G

œD7

œG

œ

Am

œ œD7

œG

˙ .figuration with neighbour notesfiguration with passing notes

23

24

22


Mozart:SymphonyNo36,III(KV425)Original:Cmajor

&b

4

3 œ

Œ

Vl. 1&2 in octaves

Vla.

˙

j

œ ‰

F

˙

j

œ

‰

Dm

œ

œœ

Bb

œ œ

F/C C

289


Addmelodic‘fills’foronebassoon(ortwoinparallelmotion)tothemelodybelow. The accompaniment is notated on p 83, Ex 1.

• Use theclosingmotive (possiblyshortened) fromthepreviousphrase;seep 113, Ex 1 and 4. (Haydn shorten the motive using the three last notes in inversion with an added note of resolution: e e e | q

• Beforeyoustart,determinethedestinationnoteforeachmelodic‘fill’.

Composemelodic‘fills’builtonamotiveindiminutiontothemelodybelow;see p 113, Ex 2.

• Atthestartofthemelodic‘fill’youcouldusethemotive(withorwithoutupbeat) from the previous phrase – possibly without the dotted rhythm.

Write an arrangement of some length for two or three wind/string instruments plus accompaniment and vary it by using differing techniques, eg:

• melodic‘fills’• two-partwriting• singlelinebackgrounds

See‘Planningandnotation’onp121and‘IntroductionandCoda’onp125.

Melodic ‘fills’

25

26

27


C.M.Bellman:AsFestiveaComelyShepherdess

use the motive from the previous bar (without the dotted rhythm) for a melodic ‘fill’ in diminution.

& b b 86‰Jœ

∑

Gm

œ . œ# œ

D7

œ Jœ∑

Gm

œ Jœ œJœ

∑œ . œ# œ

D7

œ Jœ

Gm

œ .

(Cm D7)

œJœ

Gm

œ . œ# œ

D/F #

œ Jœ

& b b6 ∑

Gm/F

œ œ œ

Gm/E

œJœ

∑

Eb

œ . œ# œ

D7

œ Jœ

Gm

œ .

(Cm F7)

œ Jœ

Bb

œ Jœ œ

osv.

Jœ melodic ‘fill’

&

#

#

#˙ œ# œ œ œ

∑

AVl.1

œ

œ‰

j

œ

∑

E/G#

˙œ œ œ œ

∑

A Bm/D

Bn.1(&2):

œ œ

Œ

Œ ‰

A/E E7

&

#

#

#4

˙ œ# œ œ œ

Œ Œ

A

œ

œ‰

j

œ

∑

E/G#

˙œ œ œ œ

∑

A Bm/D

Bn.1(&2):

œ œ

Œ

Œ ‰

A/E E7

˙

Haydn:SymphonyNo61,II

melodic ‘fill’

melodic ‘fill’

290

Write an obbligato part to the following melody (or one of your own choice), for flute and clarinet accompanied by piano or guitar and bass (either using chord symbols or notated).

• Inordertopractiseyourabilitytomakeanindependentsecondpart,writea separate melody for clarinet which matches the chord progression in the example below (notabasspart, italreadyexists).Atthisstageyoudon'tneed to consider it matching or forming consonant intervals with the melody provided–comparewithEx1onp115.

• Themelodybelowhasaverydistinctfundamentalmelodicstructureconsist-ingofthefirstnoteineachbar.Despitetheinstructionsabove,keepthislinein mind and avoid using the same notes too often in the second part.

• Shapethesecondpartusingacalmerrhythmthanthatofthemelody,egwithrhythmic values such as q . or q e , and construct phrases of two or four bars.

• Playthroughbothpartswith the bass in order to hear how they work together. Remember that there is an accompaniment that completes the chords if the intervals of the 3rd and 6th are missing between the parts.

• Makechangeswheretheresultisn’tconvincing.

ConCerninG his Fair one anD her FiCKleness

C.M.Bellman:Fredman'sEpistleNo35

Obbligato part


28

&

&

b b

b b

86

86

1

Ackomp.:

Fl.

Kl.

Bb

œ œ œ œ œ œEb

œ œ œ œ Jœ

F7

œ œ œ œ œ œ

B b

œ . œ .

&

&

b b

b b

5

B b

œ œ œ œ œ œEb

œ œ œ œ .

F7

œ œ œ œ œ œ

Bb

˙ .

&

&

b b

b b

..

..

..

..

√9

Bb

œ œ œ œ œ œ

F7

œ œ œ œ .

Bb

œ œ œF7

œ œ œ1

Bb

œ œ œ œ Jœ2

Bb

˙ .

Accompa-niment:

Cl.

291


Canon

Writearoundbasedonthechordprogressionbelow;seeeg‘FrèreJacques’onp116.Ifyouwishyoumaymakeyourownturnaroundorchooseanotherkey,orwritea two-part, three-partor four-partcanon.Use thenumberofstavesaccordingly.

• Noticethatthefourstaveswillalsoserveasthescoreandtherebyshowhowthe parts sound together.

• Shapeeachphrasesothatitworksasapartofthewholepiece.Thisincludesthe possibility of the parts crossing each other as well as the doubling of chord notes,alsoapplyingtothe3rd;see‘FrèreJacques’.

• Usinglongnotevaluesratherthanshortonesmakescanonwritingeasier.

Attempttowriteatwo-partcanonwhichisn't based on a turnaround. Study thetechniqueofredefiningnotescarefully,asshowninExample1onp117.Take advantage of the technique used to temporarily modulate to a related key.

Hints

• Begin by composing the first motive up to where the next entry will begin.

• Then, write this motive in the 2nd part where it is to enter - Example a.

• Continue the 1st part suited to the 2nd part's entry – Example b.

• Write this new bit into the 2nd part, etc.

29

&# #

D1 Em A7 D

&# #

5

&# #

9

&# # ..

13

1st entry

2nd entry

3rd entry

4th entry

&

?

b

b

b)

œ œ

Œ

œ œ œ œ œ

Œ Œ œ œœ jœœ œ œ œ œ œ Jœ

&

?

b

b

a)

œ œ

Œ

œ jœ

Œ Œ œ œ œ Jœ➛ ➛


b

What you notate here will sound together with what’s written in the staves above.

a

292

Imitation

Practise imitating the start of a melody using the following melodic excerpts. Useimitationattheunisonoroctave,andcontinuefreelyinthemannershownin Ex 2 on p 117. Decide where to start and how long the imitation can go on before the part continues freely.

C. M. Bellman: ‘Come now, ourselves reposing’, Fredman's Epistle No 82

Asopposedtothepreviousexercise,theimitativeparthereneedstobediatoni-cally transposed and altered – partly in order to match the harmony, partly so thatthetwo-partwritingwillsoundcomplete;seep117,Ex3and4.

• Itisimportanttomaintainwhatischaracteristicofthemotive.Thisprimar-ily concerns the rhythm, but also the direction of the intervals. The size of theleapsmaybealtered,egafourthmaybeansweredbyafifth,althoughimportant stepwise movement is usually preserved.

30

& 4

3

œœ

œ

Ó Œ

C

.˙

Dm7

œœ

œ

G7

.˙

C

imitate bars 1–2 and close the phrase

imitate bars 3–4 and close the phraseimitate bars 1–2

& b 42Dm

œ . œ œ œÓ

A7

œ# œ

Dm

œ . œ# œ œA7

˙Dm

œ . œ œ œ

A7

œ# œ

Traditional

& b 42F

œ œ œ . œC7

œ . œF

œ œ œ . œC7

œ . œF

œ œ

C

œ œF

œ œ œ

continue freely

&#

83G

œ œ œ œ jœ œ œ œ œ jœ œ œ œC

œ œ œG

œD

œ œ œ œ ‰

continue freely


C.M.Bellman:‘Ah,didItherereign’Song No 11

31

etc

etc

293


32


a

Practise writing imitation in three and four voices in the manner described on p 117, Ex 3 and 4.

Three voices:

Imitatethefirst4–5notesofthemelodytwiceinsuccessiveentries;seep117,Ex3.Then,continuetoimitatetheclosingvoiceofthefirstphrase,butinthiscase only rhythmically with a ‘freely’ composed melodic line.

Four voices:

Imitatethe entire firstphrasethreetimesandthencontinue‘freely’.Wherenec-essary,alterthefifthleapinthemelodytomatchtheharmony;seep117,Ex3(Ex 4 for the alteration of the interval).

Three voices plus supporting bass:

Make use of a harmonically supporting bass (see p 117, Ex 4) and write imitative altoandtenorvoices.Imitatethemotiveinthefirstphraseandpractisealteringit to match the harmony.

&

?

b b

b b

c

c

Gm

œ œ œ œCm6

œ œ ˙D7

œ œ œ œGm

œ œ ˙

&

?

b

b

86

86

Dm

œ jœ œ . œ œ œ jœ œ .Gm

œ jœ œ . œ œDm

œ . œ .Gm

œ

b

Who Can Sail Without Wind? (see p 287)

c

&

?

#

#

c

c

œ œ œ œ œ

Em

œ œ ˙

Am6 H7

œ œ œ œ

Am7 H7-9

˙ ˙

H7/E Em

supporting bass

B7 B7( b9) B7

294

Addanindependentupperpartplayedbyflute(writtenmostlyintherangeofonetotwooctavesabovemiddleC;seerangeonp134)tothearrangementyouhave written for string orchestra/string quartet on p 237 (‘Minore’). You may instead, if you like, write a new arrangement for clarinet accompanied by guitar/piano and bass and add an independent upper part for flute to the score below.

• Thesecondpartmaybeginwithanimitationandbeformedaccordingtotheinstructionsinthescoreandtheprinciplesoutlinedonp119,Ex1.

• Bothpartsshouldsound‘complete’together.Inordertoachievethis,youcan write suitable support notes on the strong beats forming ‘full’ intervals with the melody or dissonances such as the tritone in the dominant 7th chord (alsoinseveraloctavesinordertoprovidealternatives).Usingthesesupportnotes you can shape the second part.

The principle of movement between support notes means that you don’t have to check every individual interval between the parts. Thereby you are free to shape the part in a more melodic/linear way.

imitate bars 1-3 and develop the voice further with an increase in activity

33


Free imitation

&

#

4

2

œ œ œ œ

EmMinore

œ œ œ œ œ œ œ œ œ#

œ

B7

œ œ

&

#

7

J

œ œ œ œ

Em

˙ œ œ œ œ

Em

œ œ œ œ œ œ

C

œ

œ

Am

&

#

13

œ

œ#

Em/B B7

˙

Em

œ œ œœ

E7

œ# œ œœ œ œ

Am

˙

&

#

19

œ œ œœ

D7

œ œ œœ œ œ

G

˙œ œ œ œ

Em

œ œ

&

#

25

œ œ œ œ

C

œ

œ

Am

œ

œ#

Em/B B7

œ

œ

C Am

œ

œ#

Em/B B7

˙

Em

C. M. Bellman: Epistle No 71 (2nd section)

295


Writethefirstphraseof‘SehnsuchtnachdemFrühlinge’infourparts.Beginwithstrettoimitationinthemannershownonp118,Exaandp119,Ex4.

• Transposewhererequiredandfeelfreetoalterthemotive.Thefirsttwonotesare the most important.

34

Stretto

&

?

# #

# #

86

86

jœD

œjœ œ

jœ œ . œ œ œ

(A7)Em/G

œ jœA7

œ œ œD

œ .

Mozart:SehnsuchtnachdemFrühlinge

Continue one of the imitative exercises you made in Exercise 32 or 34 in order to makeacompletearrangementforchoirorinstrumentalensemble.Alternatively,write a composition where you make use of imitative techniques. See ‘Planning andnotation’onp121and‘IntroductionandCoda’onp125.

35


from the - sting musik · 2020. 11. 26. · modern harmonic technique (1965), gordon delamont...

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