Chord Spacing

Spacing of chord tones applies to the interval distance between the soprano and tenor.

• Close structure (C): less than one octave between soprano and tenor. In close chord structure, upper voices (S-A-T) will not skip any chord tones from voice to voice.
• Open structure (O): more than one octave between soprano and tenor. In open chord structure, upper voices must skip chord tones between voices.
• Open/Octave structure (O/O): an exact octave between soprano and tenor, most commonly used for first inversion major and minor triads, where you double the chord tone in the soprano with the tenor voice.

The spacing between pairs of upper voices (S-A and A-T) must be an octave or less to maintain the feeling that the voices blend together to provide harmony.

Chord Doubling

Since triads are three-note chords, and we will use a four-voice texture, you will need to double one chord tone in each triad. Doubling rules are not absolute, but we generally follow certain conventions.

• For major and minor root position triads: double the root of the chord (bass plus one other voice).
• For first inversion major and minor triads: double the chord tone in the soprano, usually with the tenor voice for Open/Octave structure.
• For second-inversion major and minor triads: double the bass (the chordal fifth).
• For diminished triads in first inversion: double the bass (the chordal third). Note that diminished triads are almost always written in first inversion.
• Seventh chords have four chord tones and do not require doubling. It is possible, however, to omit the chordal fifth and to double the root. 
• In a few situations (typically the end of phrases), it is possible to omit the chordal fifth for major and minor triads and to triple the root. Never omit the chordal third of a triad.

Note that this list of common doublings does not include augmented triads. This omission is because augmented triads are seldom used in common practice harmony.

Musical Texture is the interaction between separate voice parts in music.

We define three basic categories of musical texture: monophonic, homophonic, and contrapuntal.

Monophonic textures are the least used in common practice ensemble music. To be monophonic, a texture must be comprised of either a single voice, multiple voices playing in unison, or multiple voices playing in octaves. Monophonic textures generally occur for brief passages, and can provide a heightened dramatic effect.

Homophonic textures are the most commonly used textures in tonal music. There are two sub-types of homophonic texture: chordal, or homorhythmic texture; and melody with accompaniment. Melody with accompaniment is by far the most used texture. Homorhythmic texture implies that all voices are moving in (mostly) unison rhythm, but not in unison or octave harmonies (which would be monophonic). Chordal Arpeggiation is a variation of homorhythmic texture. Many of the Back keyboard preludes fall into this category.

Contrapuntal texture is characterized by multiple lines each exhibiting independent melodic qualities. Often there is melodic imitation between voices in a contrapuntal texture. Fugues are the most obvious example of this texture, but you will find imitative passages in classical and romantic music, as well as fugetto (little fugue) sections within larger works.

Instrumental music can, and usually does exhibit flexibility with texture, switching between textures within a piece. Our harmonic exercises will usually be done in a strict texture, using four-voice chorale style writing. This writing is modeled after the Bach chorales, using a Soprano-Alto-Tenor-Bass ensemble, with the soprano and alto written on one staff in the treble clef, and the tenor and bass written on one staff in the bass clef. Stems go up for soprano and tenor parts, and down for alto and bass parts.

Vocal ranges for each part are as follows (slightly different from Gauldin):

• Soprano: C4 – G5
• Alto: G3 – C5
• Tenor: C3 – G4
• Bass: E2 – C4

Some basic tips for doing a reductive melodic analysis:

The basic principle underlying reductive analysis of melodies is that step-wise motion provides a structural framework for almost all common practice tonal melodies. Reductive analysis seeks to illustrate this step-wise framework that connects the beginning of a melodic phrase with its melodic cadence.

To begin a melodic analysis, first identify the scale degrees of the two-note melodic cadence. Next, identify the scale degree of the first note of the melody. If the scale degree of the first note matches either scale degree of the melodic cadence, then you most likely have your reductive, structural step-wise motion. If there is a gap, an interval larger than a step between the beginning scale degree of the melody and the melodic cadence, then you need to find the important scale degrees that connect and fill in the gap. 

In your reductive analysis, all notes of the melody are indicated as filled noteheads (black notes). Structural notes are given (upward) stems, and their scale degrees are indicated above the staff. No other rhythmic notation is used (other than to place noteheads in the measure that they appear).

To Review:

• Reductive melodic analysis looks for a structural step-wise melodic motion that connects the beginning of a phrase with its melodic cadence
• Begin your melodic analysis by labeling the scale degrees of the melodic cadence.
• Next, identify and label the scale degree of the beginning of the phrase.
• If the scale degree of the beginning of the phrase is within a step of the melodic cadence, then you have found the structural step-wise motion. 
• If there is a gap between the opening note scale degree and the melodic cadence, look for notes in the melody that connect the beginning and cadence in step-wise motion. If you have multiple choices, more than one occurrence of a scale degree, favor later instances over earlier ones, as long as the step-wise motion remains directional (moves in a single direction, up or down).