Main Body
27 Composing out progressions
Learning goals for Chapter 27
In this chapter, we will learn:
- How to transform music in textures to other types of texture
- How to realize chord progressions in four parts in various textures
In the previous chapters, we focused on part writing in four parts. Now we take the next step—how to transform this part writing into different musical textures. There’s nothing wrong with homorhythmic textures, of course. You could play progressions in blocked chords at the piano, assign each voice to be sung , or transcribe them for a string quartet as is, without changing any rhythm, and it will sound just fine. But if you want greater variety, there are a number of textures we can use to create contrasting-sounding pieces.
Models for composing out progressions
There are many ways to realize a homorhythmic SATB progression in homophonic textures without changing the underlying voice leading. After you choose a desired non-homorhythmic texture, the most important aspect will be retaining the note and register placement of each voice in the texture.
Take Example 27-1 as a homorhythmic model, not unlike the chord progressions we have written up until this point. This example uses the principles of voice leading we have studied, with open chord voicing, logical resolutions of the leading tone, and mostly stepwise or same-note motion in the upper voices.
Example 27-1. Homorhythmic model
Examples 27-2 and 27-3 illustrate two different realizations of the progression in Example 27-1, with . Example 27-2 recasts the progression in a simple triple meter. It places the soprano and bass notes of each chord on the downbeat, and it postpones the appearance of the alto and tenor parts to beats 2 and 3 respectively to create an arpeggiated texture.
Example 27-2. Realization with arpeggiation
Example 27-3 presents the progression in 
and uses the soprano part as the primary melody, while the lower voices create an arpeggiated pattern. Examples 27-2 and 27-3 are just two examples of myriad possibilities using arpeggiated textures. It is possible to make any of the four parts the primary melody using longer, sustained durations and/or strong metric placements. You can change the direction and patterns of arpeggiation as well.
Example 27-3. Another realization with arpeggiation
Examples 27-4 and 27-5 illustrate two contrasting textures exploring different rhythmic patterns. Example 27-4, in simple quadruple meter, presents the bass part in quarter notes, while the upper voices use a syncopated pattern to create a homophonic “oom-pah” texture. is the process of placing rhythmic attacks in metrically weak positions, or “off” the beat. As in the previous examples, Example 27-4 retains the note and exact octave placement of each part, but the rhythmic placement shifts to create a new texture.
Example 27-4. Realization with syncopation in upper voices
Example 27-5 uses the same rhythm in the bass line, but instead places focus on the soprano with even longer sustained durations. Syncopation is now in the inner voices (alto and tenor).
Example 27-5. Realization with syncopation in inner voices
Examples 27-2 through 27-5 are just four possible realizations out of many. Your own creativity is the only limit to what is possible texturally. As you create new textures for progressions, keep in mind playability (how hard is it to perform?), coherence, and always maintaining the note and register placement of each voice.
Composing out progressions
EXERCISE 27-1 Composing out a progression
This exercise is designed to teach you how to compose out an SATB progression in a non-homorhythmic texture. To this end:
- After reviewing the models in this chapter, choose one of the progressions you completed in Parts B or C in Ex26.2 Part writing with chords in all inversions.
- Take this progression and compose it out using a homophonic texture with arpeggiation or rhythmic elaboration. You may write your composition on staff paper with pencil or using a notation program.
Tips for success:
- Do not change the octave or register placement of your voice leading. We should be able to trace each part (soprano, alto, tenor, and bass) in the exact register and octave placement in which they appeared in the original exercise.
- Your composition should be written using a and have clefs, a key signature on both staves, and a time signature.
- If you need to use more than one system, each system after the first should have clefs and key signatures, but no time signature.
- All measures should contain the correct number of beats.
- If handwriting your composition, take great care with the vertical alignment of notes. Notes played successively should appear in succession, and notes played simultaneously should appear aligned vertically.
a type of texture where all parts use the same rhythm, or mostly the same rhythm
abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts
textures that feature a melody with an accompaniment
chords played one note at a time
the process of placing rhythmic attacks in metrically weak positions, or "off" the beat
in Western music notation, a commonly used two-staff system, connected with a bracket, in which the top staff uses treble clef and the bottom uses bass clef; often used for piano music notation
