VQicin£ a triad in closed and open position,

1. Stay within the ranges of the voices.

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2. Double the root in a root position mad.3. No greater distance than an octave between soprano and alto, or

alto and tenor. Distance between the tenor and bass is usuallyDO inore than a twelth.

4. The two rules above must be observed in both closed and'open position.

5. In closed position the distance between the tenor and the sopranois an octave or less. In other words the the combined range of thethree upper voices must be an octave or less.

6. In open position the distance between the tenor and the sopranois more than an octave. Regardless of whether the triad isin closed or open position there' caD be no more than anoctave between the soprano and alto, or the alto andtenor. (See rule 3)

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Chords in Major

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Chords in minor.

There are three fonns of the minor scale: natural, hannonic, and melodic.Obviously this means that we have many more diatonic chonis possible in minor than wedo in major. .In natural minor the chords are the same as the relative major, only the number order of thechords change. (example: in C major the iichoni is d minor but in a minor which has thesame key signature as Cmajor d minor is the iv chord.) With harmonic minor we get threenew chord possibilities since any chord that contained the Seventh scale degree will now bechanged. (example: in a natural minor the vn chord is G major, when we raise the seventhdegree to g# that chord becomes viio., a g# diminished chord) Likewise when we raisethe sixth scale degree. which happens inmelodic minor, three more chords are possible,those that contain the sixth scale degree. (example: the iv choni which is dminor nowbecomes the N chord Dmajor)lhis gives us thirteen chords that are possible inminor whereas inmajor we have seven.. Of the thirteen here are the ones most frequently employed.

i, iio, m, iv, V. VI, VII, viioSometimes composers may only use one of these scale forms when they write but

many times composers feel free to use all of them at some point in the same piece of music.Because of this when we analyze a piece in minor we need to be aware ofthe harmonic and melodic possibilities of all three scales.

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Deceptive resolution of the dominant triad.

The deceptive resolution of the domin,ant triad is the progression V to vi inmajor and V to VI in minor.

Normally when root position triads proceed by root motion of a.second wemove the three upper voices in contrary motion to the bass. (This avoids allparallels) However if we follow this procedure in minor we will alwayshave an augmented second, between two'of the voices. Therefore in minorwe always resolve ·the leading tone and double the third of the VI chord.

Irt major we may use both procedures 1. Move the upper voices in contrarymotion to the bass. 2. Resolve the leading tone and double the third of thevi chord. However if the leading tone is in the soprano we must-resulveirso in this case we must resolve the leading toile and doubie the third.

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Find ahd labelthe following errors in tbis passage:.' '-

1.; PatalleI' 8yes=== 2. Parallel 5ths-'-'--;, ..-'-- ~ Direct 5th

4. Consecutive 5ths by contrary motion

5i: Spacing error (review pp. 74-75)

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