{"id":603,"date":"2023-05-11T19:03:31","date_gmt":"2023-05-11T19:03:31","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/chord-motion-voicing\/"},"modified":"2025-08-14T19:35:09","modified_gmt":"2025-08-14T19:35:09","slug":"chord-motion-voicing","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/chord-motion-voicing\/","title":{"raw":"Chord motion and voicing","rendered":"Chord motion and voicing"},"content":{"raw":"<div class=\"chord-motion-&amp;-voicing\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 24<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will:<\/p>\r\n\r\n<ul>\r\n \t<li>Study chord voicings in four-voice textures<\/li>\r\n \t<li>Learn about chord positions<\/li>\r\n \t<li>Revisit types of motion as they apply to chords in European Baroque, Classical, and Romantic music<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Chord voicing\"><\/a>Chord voicing<\/h1>\r\n<span>Often, the harmony in European tonal music is constructed as, or can be understood as, a four-part texture with soprano, alto, tenor, and bass ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) parts, even if a composition is not written for SATB choir.<\/span> We can even extract four parts from textures written for keyboard instruments and sometimes even single-line instruments, such as the cello or violin, when compound melody is employed. This chapter introduces best practices for understanding harmony in European Baroque, Classical, and Romantic music, as well as for writing and connecting chords in these styles.\r\n<h1><a id=\"Chord positions\"><\/a>Chord positions<\/h1>\r\nChords can be voiced in one of three ways, as shown in Example 24-1: [pb_glossary id=\"2800\"]close[\/pb_glossary], [pb_glossary id=\"2801\"]neutral[\/pb_glossary], or [pb_glossary id=\"2802\"]open[\/pb_glossary] position. Chords in close position have less than an octave between the soprano and tenor voices. Those in neutral position have exactly an octave between soprano and tenor, and those in open position have more than an octave between soprano and tenor. It is best to avoid having more than an octave between soprano and alto, or between alto and tenor, as this often results in an undesirable, empty, or muddy voicing.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 24\u20111. Three chord positions<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-1024x530.png\" alt=\"image of chords in four voices on grand staff\" width=\"1024\" height=\"530\" class=\"alignnone wp-image-2804 size-large\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><span style=\"font-size: 14pt\"><a id=\"Chord motion\"><\/a>Chord motion<\/span><\/h1>\r\nIn <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/two-part-counterpoint\/\" target=\"_blank\" rel=\"noopener\">Chapter 21<\/a>, we learned about four types of motion in two-part textures\u2014[pb_glossary id=\"1030\"]parallel[\/pb_glossary], [pb_glossary id=\"2456\"]similar[\/pb_glossary], [pb_glossary id=\"2458\"]oblique[\/pb_glossary], and [pb_glossary id=\"2455\"]contrary[\/pb_glossary]\u2014which are shown again in Example 24-2. These terms are also used to describe motion among parts in four-voice chord textures.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 24\u20112. Four types of motion<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-1024x331.png\" alt=\"image of score showing types of motion\" width=\"1024\" height=\"331\" class=\"alignnone size-large wp-image-2460\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<span>When connecting one chord to another, preserving the independence of the melodic lines should be a high priority. For this reason, contrary motion is most preferred, especially between the outer voices, and oblique motion also works well. Similar motion may occur between outer voices, but it tends to obscure independence more than contrary motion does. Parallel motion produces melodic lines that seem more dependent on each other, so it is generally avoided between outer voices; however, parallel thirds, fourths, and sixths do occur commonly between upper voices (soprano, alto, and tenor). Parallel perfect unisons, fifths, and octaves disguise independence so much that they are to be avoided between any two voices. Even when using contrary motion, consecutive perfect fifths and octaves must be avoided, as shown in Example 24-3.<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 24\u20113. Successive perfect fifths and octaves<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3.png\"> <\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-1024x343.png\" alt=\"image of soprano and bass lines on grand staff creating successive parallel motion\" width=\"1024\" height=\"343\" class=\"alignnone wp-image-2806 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.3.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<span>Example 24-4 shows two other ways of approaching perfect fifths or octaves. [pb_glossary id=\"2807\"]Unequal fifths[\/pb_glossary] occur between two voices that move from a d5 to a P5 or vice versa; unlike parallel fifths, unequal fifths are acceptable. [pb_glossary id=\"2808\"]Direct fifths[\/pb_glossary] occur when the soprano voice is approached by leap resulting in a P5 between soprano and bass, and [pb_glossary id=\"2809\"]direct octaves[\/pb_glossary] result in a P8 by the same means; these should both be avoided in some tonal styles.<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 24\u20114. Unequal fifths, direct fifths, and direct octaves<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-1024x395.png\" alt=\"image of soprano and bass voices on grand staff showing unequal, parallel, and direct fifths\" width=\"1024\" height=\"395\" class=\"alignnone size-large wp-image-2811\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.4.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T35 Chord motion and voicing (9:31)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/HfLobE6oeE8?si=36l0S6nP3huhPsJ3\r\n\r\nThis video introduces three chord voicing types (close, neutral, and open) and four types of chord motion (parallel, similar, oblique, and contrary). In addition, the video demonstrates the motion of parallel perfect fifths and octaves (to be avoided in European Baroque, Classical, and Romantic styles), as well as the distinction between unequal fifths (okay in these styles) and parallel fifths (not used in these styles).\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 24-1 Chord motion and voicing\"><\/a>EXERCISE 24-1 Chord motion and voicing<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 24-1 Chord motion and voicing<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<strong>Part A. <\/strong>Study and listen to the example below. Label each chord position with O, N, or C (for [pb_glossary id=\"2802\"]open[\/pb_glossary], [pb_glossary id=\"2801\"]neutral[\/pb_glossary], and [pb_glossary id=\"2800\"]close[\/pb_glossary], respectively) and the cadences above the grand staff. Then label the motion between the bass and soprano voice with P, S, O, or C (for [pb_glossary id=\"1030\"]parallel[\/pb_glossary], [pb_glossary id=\"2456\"]similar[\/pb_glossary], [pb_glossary id=\"2458\"]oblique[\/pb_glossary], or [pb_glossary id=\"2455\"]contrary[\/pb_glossary], respectively) between the staves. In cases where both the soprano and bass remain stationary, no label is needed (as no motion has occurred). Finally, provide a Roman numeral analysis beneath the grand staff. The first measure is done for you.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 24\u20111. Samuel Scheidt, Bergamasca, mm. 1\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-1024x768.png\" alt=\"image of score\" width=\"1024\" height=\"768\" class=\"alignnone wp-image-5802 size-large\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-scheidt.png\"><\/a>\r\n\r\nListen to the piece, performed by organist Klemens Schnorr, on <a href=\"https:\/\/open.spotify.com\/track\/6GFZROxCXhqUnekMfGnnQk?si=17393244840f404a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer and organist <strong>Samuel Scheidt<\/strong> (1587\u20131654) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.24785\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Kerala J. Snyder and Douglas Bush.\r\n\r\n<\/div>\r\n<\/div>\r\n<strong>Part B. <\/strong>For each problem, first provide the proper key signature, then realize the Roman numerals given beneath the staff in open (O), neutral (N), or close (C) position as indicated in four voices (SATB). If the triad is in [pb_glossary id=\"1464\"]root position[\/pb_glossary], double the root, which is also the bass. If the triad is in [pb_glossary id=\"1710\"]first inversion[\/pb_glossary] (<b><\/b>[latex]{}^6[\/latex]), double the soprano. If the triad is in [pb_glossary id=\"1711\"]second inversion[\/pb_glossary] ([latex]{}^6_4[\/latex]), double the fifth, which is also the bass. The first problem is done for you.\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-944x1024.png\" alt=\"image of blank grand staff with annotations for position above the staff and key and Roman numeral beneath the staff\" width=\"944\" height=\"1024\" class=\"alignnone size-large wp-image-2821\" \/><\/a><code><\/code>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/02\/Ex24.1-Chord-motion-and-voicing.pdf\" target=\"_blank\" rel=\"noopener\">Ex24.1 Chord motion and voicing<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"chord-motion-&amp;-voicing\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 24<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will:<\/p>\n<ul>\n<li>Study chord voicings in four-voice textures<\/li>\n<li>Learn about chord positions<\/li>\n<li>Revisit types of motion as they apply to chords in European Baroque, Classical, and Romantic music<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Chord voicing<\/h1>\n<p><span>Often, the harmony in European tonal music is constructed as, or can be understood as, a four-part texture with soprano, alto, tenor, and bass (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2799\">SATB<\/a>) parts, even if a composition is not written for SATB choir.<\/span> We can even extract four parts from textures written for keyboard instruments and sometimes even single-line instruments, such as the cello or violin, when compound melody is employed. This chapter introduces best practices for understanding harmony in European Baroque, Classical, and Romantic music, as well as for writing and connecting chords in these styles.<\/p>\n<h1><a><\/a>Chord positions<\/h1>\n<p>Chords can be voiced in one of three ways, as shown in Example 24-1: <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2800\">close<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2801\">neutral<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2802\">open<\/a> position. Chords in close position have less than an octave between the soprano and tenor voices. Those in neutral position have exactly an octave between soprano and tenor, and those in open position have more than an octave between soprano and tenor. It is best to avoid having more than an octave between soprano and alto, or between alto and tenor, as this often results in an undesirable, empty, or muddy voicing.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 24\u20111. Three chord positions<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-1024x530.png\" alt=\"image of chords in four voices on grand staff\" width=\"1024\" height=\"530\" class=\"alignnone wp-image-2804 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-1024x530.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-300x155.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-768x398.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-1536x795.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-2048x1060.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-65x34.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-225x116.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.1-350x181.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-603-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><span style=\"font-size: 14pt\"><a><\/a>Chord motion<\/span><\/h1>\n<p>In <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/two-part-counterpoint\/\" target=\"_blank\" rel=\"noopener\">Chapter 21<\/a>, we learned about four types of motion in two-part textures\u2014<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_1030\">parallel<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2456\">similar<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2458\">oblique<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2455\">contrary<\/a>\u2014which are shown again in Example 24-2. These terms are also used to describe motion among parts in four-voice chord textures.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 24\u20112. Four types of motion<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-1024x331.png\" alt=\"image of score showing types of motion\" width=\"1024\" height=\"331\" class=\"alignnone size-large wp-image-2460\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-1024x331.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-300x97.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-768x248.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-1536x497.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-2048x662.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-225x73.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1-types-of-motion-350x113.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-603-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-21.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p><span>When connecting one chord to another, preserving the independence of the melodic lines should be a high priority. For this reason, contrary motion is most preferred, especially between the outer voices, and oblique motion also works well. Similar motion may occur between outer voices, but it tends to obscure independence more than contrary motion does. Parallel motion produces melodic lines that seem more dependent on each other, so it is generally avoided between outer voices; however, parallel thirds, fourths, and sixths do occur commonly between upper voices (soprano, alto, and tenor). Parallel perfect unisons, fifths, and octaves disguise independence so much that they are to be avoided between any two voices. Even when using contrary motion, consecutive perfect fifths and octaves must be avoided, as shown in Example 24-3.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 24\u20113. Successive perfect fifths and octaves<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3.png\"> <\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-1024x343.png\" alt=\"image of soprano and bass lines on grand staff creating successive parallel motion\" width=\"1024\" height=\"343\" class=\"alignnone wp-image-2806 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-1024x343.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-300x100.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-768x257.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-1536x514.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-2048x685.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-65x22.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-225x75.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.3-350x117.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-603-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.3.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p><span>Example 24-4 shows two other ways of approaching perfect fifths or octaves. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2807\">Unequal fifths<\/a> occur between two voices that move from a d5 to a P5 or vice versa; unlike parallel fifths, unequal fifths are acceptable. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2808\">Direct fifths<\/a> occur when the soprano voice is approached by leap resulting in a P5 between soprano and bass, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2809\">direct octaves<\/a> result in a P8 by the same means; these should both be avoided in some tonal styles.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 24\u20114. Unequal fifths, direct fifths, and direct octaves<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-1024x395.png\" alt=\"image of soprano and bass voices on grand staff showing unequal, parallel, and direct fifths\" width=\"1024\" height=\"395\" class=\"alignnone size-large wp-image-2811\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-1024x395.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-300x116.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-768x296.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-1536x593.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-2048x790.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-65x25.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-225x87.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex24.4-350x135.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-603-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-24.4.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T35 Chord motion and voicing (9:31)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T35 Chord Motion &amp; Voicing\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HfLobE6oeE8?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This video introduces three chord voicing types (close, neutral, and open) and four types of chord motion (parallel, similar, oblique, and contrary). In addition, the video demonstrates the motion of parallel perfect fifths and octaves (to be avoided in European Baroque, Classical, and Romantic styles), as well as the distinction between unequal fifths (okay in these styles) and parallel fifths (not used in these styles).<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 24-1 Chord motion and voicing<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 24-1 Chord motion and voicing<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><strong>Part A. <\/strong>Study and listen to the example below. Label each chord position with O, N, or C (for <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2802\">open<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2801\">neutral<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2800\">close<\/a>, respectively) and the cadences above the grand staff. Then label the motion between the bass and soprano voice with P, S, O, or C (for <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_1030\">parallel<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2456\">similar<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2458\">oblique<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_2455\">contrary<\/a>, respectively) between the staves. In cases where both the soprano and bass remain stationary, no label is needed (as no motion has occurred). Finally, provide a Roman numeral analysis beneath the grand staff. The first measure is done for you.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 24\u20111. Samuel Scheidt, Bergamasca, mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-1024x768.png\" alt=\"image of score\" width=\"1024\" height=\"768\" class=\"alignnone wp-image-5802 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-1024x768.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-300x225.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-768x576.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-1536x1152.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-2048x1536.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-65x49.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-225x169.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-rev-350x263.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-24.1-scheidt.png\"><\/a><\/p>\n<p>Listen to the piece, performed by organist Klemens Schnorr, on <a href=\"https:\/\/open.spotify.com\/track\/6GFZROxCXhqUnekMfGnnQk?si=17393244840f404a\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer and organist <strong>Samuel Scheidt<\/strong> (1587\u20131654) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.24785\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Kerala J. Snyder and Douglas Bush.<\/p>\n<\/div>\n<\/div>\n<p><strong>Part B. <\/strong>For each problem, first provide the proper key signature, then realize the Roman numerals given beneath the staff in open (O), neutral (N), or close (C) position as indicated in four voices (SATB). If the triad is in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_1464\">root position<\/a>, double the root, which is also the bass. If the triad is in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_1710\">first inversion<\/a> (<b><\/b><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-664a0618ee2b754ab225b96662399ff8_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;\" title=\"Rendered by QuickLaTeX.com\" height=\"9\" width=\"7\" style=\"vertical-align: 6px;\" \/>), double the soprano. If the triad is in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_603_1711\">second inversion<\/a> (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-b8c2a618bbc27db5495793170a3088d4_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#54;&#95;&#52;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"7\" style=\"vertical-align: -5px;\" \/>), double the fifth, which is also the bass. The first problem is done for you.<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-944x1024.png\" alt=\"image of blank grand staff with annotations for position above the staff and key and Roman numeral beneath the staff\" width=\"944\" height=\"1024\" class=\"alignnone size-large wp-image-2821\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-944x1024.png 944w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-277x300.png 277w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-768x833.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-1416x1536.png 1416w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-1888x2048.png 1888w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-65x70.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-225x244.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-24.1-part-b-350x380.png 350w\" sizes=\"auto, (max-width: 944px) 100vw, 944px\" \/><\/a><code><\/code><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/02\/Ex24.1-Chord-motion-and-voicing.pdf\" target=\"_blank\" rel=\"noopener\">Ex24.1 Chord motion and voicing<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_603_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2799\"><div tabindex=\"-1\"><p>abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2800\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2800\"><div tabindex=\"-1\"><p>position for chords with less than an octave between the soprano and tenor voices<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2801\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2801\"><div tabindex=\"-1\"><p>position for chords with exactly an octave between soprano and tenor<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2802\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2802\"><div tabindex=\"-1\"><p>position for chords with more than an octave between soprano and tenor<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_1030\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_1030\"><div tabindex=\"-1\"><p>the relationship between keys that have the same tonic, but a different key signature<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2456\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2456\"><div tabindex=\"-1\"><p>motion resulting from two parts moving in the same direction (both up or both down)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2458\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2458\"><div tabindex=\"-1\"><p>motion in which one part moves, while the other stays on the same pitch<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2455\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2455\"><div tabindex=\"-1\"><p>motion resulting from two parts moving in opposite directions (one up, the other down)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2807\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2807\"><div tabindex=\"-1\"><p>motion between two voices that move from a d5 to P5 or vice versa<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2808\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2808\"><div tabindex=\"-1\"><p>type of motion occurring when the soprano voice is approached by leap resulting in a P5 between soprano and bass<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_2809\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_2809\"><div tabindex=\"-1\"><p>type of motion occurring when the soprano is approached by leap resulting in a P8 between soprano and bass<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_1464\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_1464\"><div tabindex=\"-1\"><p>designation for chords whose lowest note is also the root of the chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_1710\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_1710\"><div tabindex=\"-1\"><p>position of a chord when its third is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_603_1711\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_603_1711\"><div tabindex=\"-1\"><p>position of a chord when its fifth is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":24,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-603","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/603","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":33,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/603\/revisions"}],"predecessor-version":[{"id":7090,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/603\/revisions\/7090"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/603\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=603"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=603"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=603"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=603"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}