MUSIC THEORY

Mod 27

• Subject of the Day: Chord Connection in 3 and 4 Voices: Roots a Fifth (Fourth) Apart
• Reading Assignment: Textbook, pp. 87-89
• Written Assignment: Workbook, ex. 6-2
• Semester Schedule

You have already learned the procedure for connecting two chords with repeated roots.  Now we will investigate ways of connecting two chords whose roots are a fifth apart.  First, one must understand that when we refer to chord roots being a fifth apart, we should realize that if the root of the second chord were to proceed in the opposite direction, our roots would appear to be a fourth apart.  In the examples below, the chords are identical to one another.  The only difference is that in the first set of chords the bass moves a fourth up and in the second set, the bass moves down a fifth.  Therefore, we will assume that roots a fifth apart also means roots a fourth apart.

Remember that in these beginning stages we are writing chords in root position only .  Since we are working first in four voices, this implies that every chord will have 2 roots, 1 third, and 1 fifth.

A common tone is a note which apears in both chords.  Below are three methods for connecting two triads (both in root position) whose roots are a fifth apart.

a.    1)    Retain the COMMON TONE in the same voice
       2)    Move the other two voices STEPWISE IN THE SAME DIRECTION.

b.           Move the three upper voices in SIMILAR MOTION TO THE NEAREST notes of the next chord (no skip larger
              than a third).

c.    1)    Move the THIRD of the first chord directly to the THIRD of the second chord
       2)    Retain the COMMON TONE in the same voice
       3)    Move the remaining voice stepwise

In illustration a (above), the V chord is D F# A and the I chord is G B D.  The note that appears in both chords is the D.  Therefore the voice which has this D (alto) keeps it in the second chord.  (Do not consider the D in the bass, because since the  connection is for roots a fifth apart, the bass D is inevitably going to move to the G and cannot be retained as the common tone)  After retaining the common tone in the alto, the next step is to move the remaining voices stepwise in the same direction.  If we attempted to move them downward, the resulting tones would be G in the tenor and E in the soprano.  As you can see, E is not part of the I chord in G major, therefore the only direction the soprano and tenor can move is upward.  This results in G and B for the soprano and tenor.  These notes are in the chord, so this is the proper direction for those voices to move.

In illustration b, all three upper voices (soprano, alto, and tenor) move down to the nearest note of the D major chord.  The nearest note of the D chord (moving downward) to the soprano A is F#.  Going downward the nearest note to the alto's E is D.  The tenor moves to the nearest note to its C, which is A.

Illustration c shows the tenor which has the third (B) of the first chord moving directly to the third (C) of the second chord.  The next step in the procedure is to retain the common tone (E in the alto). Finally the remaining voice moves by step.  Obviously the soprano cannot move upward to a C because that would cause incorrect doubling of the ii chord.  So the proper movement is down to an A, which results in the chord having 2 roots, 1 third, and 1 fifth.

No specific rules except to avoid parallel fifths, octaves, and unisons. Also avoid objectionable hidden fifths and octaves between the outer parts. DO NOT DOUBLE THE LEADING TONE.

Remember that each three voice chord must have a root and a third. Strive for complete triads (root, third, and fifth all present), but realize that any triad may be incomplete by omitting the fifth of the chord. Usually in that situation the root will be doubled.

If you still have questions, contact Dr. Bartolotta at wbartolo@odu.edu