{"id":632,"date":"2023-05-11T19:03:46","date_gmt":"2023-05-11T19:03:46","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/satb-part-writing\/"},"modified":"2025-08-14T19:33:46","modified_gmt":"2025-08-14T19:33:46","slug":"satb-part-writing","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/satb-part-writing\/","title":{"raw":"SATB part writing","rendered":"SATB part writing"},"content":{"raw":"<div class=\"satb-part-writing\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 25<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>Basic principles of chord voicing and chord connection in four parts ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) modeled after European Baroque, Classical, and Romantic compositional practice<\/li>\r\n \t<li>Part-writing models for root position diatonic chord connections<\/li>\r\n \t<li>Strategies for identifying and correcting errors in realizing progressions in four parts<\/li>\r\n \t<li>Part-writing models for connecting V7 and its inversions to tonic<\/li>\r\n \t<li>Part-writing principles for doubling and first-inversion triads<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Principles of voice leading\"><\/a>Principles of voice leading<\/h1>\r\n<p class=\"import-Normal\">Baroque, Classical, and Romantic compositions maintain a delicate balance between the melodic (horizontal) aspect of each line and the harmonic (vertical) result of the interactions of the melodic lines. When writing music in these styles, one must strive to achieve logical tonal progressions (the vertical aspect following [pb_glossary id=\"2735\"]T-P-D[\/pb_glossary] patterns) while also creating independent, logical, and musical melodic lines. The guidelines set forth in Figure 25\u20111 will help you meet this goal.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 25\u20111. Guidelines for SATB part writing<\/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\/fig-25.1-guidelines.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-1024x749.png\" alt=\"List with 18 guidelines\" width=\"1024\" height=\"749\" class=\"alignnone size-large wp-image-4273\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-25-1-Guidelines-1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 25-1 Guidelines<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Connecting root-position triads\"><\/a>Connecting root-position triads<\/h1>\r\n<p class=\"import-Normal\">When connecting root-position chords, use contrary or oblique motion between outer voices whenever possible, which will help to prevent parallel perfect fifths and octaves. Also, prefer stepwise or same note motion in all parts whenever possible, unless stepwise motion causes undesired parallel motion between parts. <span>Each part should be as easy to sing as possible, so if a leap must be used, small leaps are preferable to larger ones.<\/span> Finally, it is preferable to double the root in any root position triad since <span style=\"font-size: 18.6667px\">it is <\/span><span style=\"font-size: 14pt\">generally the most important member of the chord. The exception to this procedure is with the leading tone, which should never be doubled, because it is unstable. Video T36 and Example 25-1 demonstrate these principles in a short musical passage.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T36 Intro to voice leading (16:57)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/RXU2HTy4B5E?si=bZvBw_zAS2GOa5Pe\r\n<p class=\"import-Normal\">This video provides an overview of the basic principles for good voice leading in the Classical and Baroque styles, and walks you through the process of how to complete SATB part writing to realize a short progression of root-position triads. To work through the example on your own, see Example 25-1.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Notice that in the fourth measure of \u201cStep 3,\u201d the alto part moved by a third instead of by stepwise motion. Had the alto part moved from G by step up to A, parallel octaves would have occurred between the bass and alto, so the alto had to move down to E instead.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 25\u20111. Part-writing principles in action: connecting root-position triads<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image149.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image149.png\" width=\"1344\" height=\"1852\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.1.mp3\"][\/audio]\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-25\u20111.-Part-writing-principles-in-action-connecting-root-position-triads.pdf\" target=\"_blank\" rel=\"noopener\">Example 25\u20111<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\nSometimes, the fifth may be omitted from a triad, in which case it is preferable to triple the root, resulting in three roots and a third. The final chord of Example 25\u20112 shows a context for this doubling. Here the alto and soprano share tonic, doubling the bass, and the tenor has the third of the tonic chord. This doubling allows for the leading tone in the alto (D[latex]\\sharp[\/latex]) to resolve up to tonic.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 25\u20112. Tripling the root<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image150.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image150.png\" width=\"868\" height=\"360\" alt=\"image of one-four-five-one chord progression realized in four parts on Grand Staff, where last chord has three roots and one third\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">In Examples 25\u20111 and 25\u20112 above, the leading tone resolves up to tonic. In Example 25\u20111, the leading tone is in the soprano voice (C[latex]\\sharp[\/latex] in D minor). Whenever the leading tone appears in an outer voice (soprano or bass), it must resolve stepwise up to tonic. In Example 25\u20112, the leading tone appears in the alto voice (D[latex]\\sharp[\/latex] in E major). Since the leading tone appears in an inner voice (alto), another solution would be to resolve it to the fifth of the tonic chord instead of up to tonic (scale degree [latex]\\hat{7}[\/latex] goes to [latex]\\hat{5}[\/latex] instead of [latex]\\hat{1}[\/latex]). This procedure is called \u201c[pb_glossary id=\"2900\"]frustrating the leading tone[\/pb_glossary]\u201d and can only occur when the leading tone is in an inner voice (alto or tenor). Example 25\u20113 demonstrates this procedure with the progression that appeared in Example 25\u20112.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 25\u20113. Frustrating the leading tone in an inner voice<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image151.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image151.png\" width=\"896\" height=\"363\" alt=\"image of one-four-five-one progression realized in four parts on Grand Staff in which alto part resolves from D-sharp to B at the cadence\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.3-rev.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Self-check quiz on principles of voice leading<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<h2><span>[h5p id=\"62\"]<\/span><\/h2>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Part-writing models for root-position chords\"><\/a>Part-writing models for root-position chords<\/h1>\r\n<p class=\"import-Normal\">In what follows, we will see best practices for connecting root-position chords based on the relationship of their roots.<\/p>\r\n<p class=\"import-Normal\">In Example 25\u20114, which shows the connection between root-position chords whose roots are related by fourth or fifth (model 1), notice the following properties:<\/p>\r\n\r\n<ul>\r\n \t<li>Keep one common tone (in this example, D in the alto voice)<\/li>\r\n \t<li>Two voices move by step (in this example, F up to G in the soprano voice, and A up to B in the tenor voice)<\/li>\r\n \t<li>Bass leaps by fourth or fifth, from chord root to chord root (in this example, D to G in the bass voice)<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 25\u20114. Model 1: roots related by fourth or fifth<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image152.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image152.png\" width=\"330\" height=\"345\" alt=\"image of four-voice chord progression connecting two to five in C major. Soprano moves F4 to G4, alto stays on D4, tenor moves A3 to B3, and bass moves D3 to G2.\" class=\"aligncenter\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.4.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 25-1 Chord connections following model 1\"><\/a>EXERCISE 25-1 Chord connections following model 1<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 25-1 Chord connections following model 1<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Try writing some chord connections following model 1. Select the right arrow over the image to view one possible set of answers.<\/p>\r\n<span>[h5p id=\"63\"]<\/span>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.1-Chord-connections-following-model-1.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.1 Chord connections following model 1<\/a><\/div>\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: T37 Part-writing models for root position triads: roots related by fourth or fifth (5:15)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/Q02t7eDoy6I?si=4qZFsq4UmaOouLuJ\r\n<p class=\"import-Normal\">This interactive video demonstrates how to connect root-position triads whose roots are related by fourth or fifth.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">The second model, shown in Example 25\u20115, demonstrates best practices for connecting root-position chords whose roots are a third or sixth apart. This connection has the following properties:<\/p>\r\n\r\n<ul>\r\n \t<li>Keep two common tones (in this example, C in the soprano voice and A in the tenor voice)<\/li>\r\n \t<li>One voice moves by step (in this example, E up to F in the alto voice)<\/li>\r\n \t<li>Bass moves by third or sixth (in this example, A to F in the bass voice)<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 25\u20115. Model 2: roots related by third<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image154.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image154.png\" width=\"330\" height=\"345\" alt=\"image of four-voice chord progression, connecting six to four; soprano stays on C5, alto moves from E4 to F4, tenor stays on A3, and bass moves from A2 to F2\" class=\"aligncenter\" \/><\/a><small><a id=\"_Ref125029088\"><\/a><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.5.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 25-2 Chord connections following model 2\"><\/a>EXERCISE 25-2 Chord connections following model 2<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 25-2 Chord connections following model 2<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Try writing some chord connections following model 2. Select the right arrow over the image to view one possible set of answers.<\/p>\r\n<p class=\"import-Normal\"><span>[h5p id=\"64\"]<\/span><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.2-Chord-connections-following-model-2.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.2 Chord connections following model 2<\/a><\/div>\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: T38 Part-writing models for root-position triads: roots related by third (3:09)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/ShnI6CqUKh4?si=2uuoVKjDkh6Thq6r\r\n<p class=\"import-Normal\">This interactive video demonstrates how to connect root-position triads whose roots are related by third.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">The third model, shown in Example 25\u20116, demonstrates best practices for connecting root-position chords whose roots are related by step. These are the most challenging connections to make without problematic parallel motion. This connection has the following properties:<\/p>\r\n\r\n<ul>\r\n \t<li>Contrary motion between the upper voices and the bass voice<\/li>\r\n \t<li>No common tone connections<\/li>\r\n \t<li>Two voices move by step in contrary motion with the bass (in this example, A steps down to G in the soprano voice, and C steps down to B in the tenor voice, while the bass moves up by step from F to G)<\/li>\r\n \t<li>One voice moves by a third in contrary motion with the bass (in this example, F moves to D in the alto voice)<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 25\u20116. Model 3: roots related by step<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image156.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image156.png\" width=\"339\" height=\"351\" alt=\"image of four-voice chord progression, connecting four to five; soprano moves from A4 to G4, alto moves from F4 to D4, tenor moves from C4 to B3, and bass moves from F2 to G2\" class=\"aligncenter\" \/><\/a><small><a id=\"_Ref125029337\"><\/a><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.6.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 25-3 Chord connections following model 3\"><\/a>EXERCISE 25-3 Chord connections following model 3<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 25-3 Chord connections following model 3<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Try writing some chord connections following model 3. Select the right arrow over the image to view one possible set of answers.<\/p>\r\n<p class=\"import-Normal\"><span>[h5p id=\"65\"]<\/span><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.3-Chord-connections-following-model-3.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.3 Chord connections following model 3<\/a><\/div>\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: T39 Part-writing models for root position triads: roots related by second (5:54)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/7TJcQJy3BgQ?si=LfKtikOp7uIgqC5N\r\n<p class=\"import-Normal\">This interactive video demonstrates how to connect root-position triads whose roots are related by second.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\nAccess the slideshow with an overview of the three models for connecting root position triads here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1eop2VL3fw-Rlmfk-uirXwtj4GJvURQ62jEx6aLeTnGE\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Intro to SATB part writing slides<\/a>.\r\n<h1><a id=\"EXERCISE 25-4 Preliminary part writing\"><\/a>EXERCISE 25-4 Preliminary part writing<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 25-4 Preliminary part writing<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image158.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image158.png\" width=\"823\" height=\"431\" alt=\"image of Grand Staff with first chord, soprano B-flat 4, alto F4, tenor D4, bass B-flat; beneath staff key is B-flat major and Roman numerals: one four five one\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">Study the setup of this progression, and then do the following activities:<\/p>\r\n\r\n<ol>\r\n \t<li>Given the Roman numerals, write the bass line of this progression on a separate sheet of staff paper.<\/li>\r\n \t<li>Following the principles we have studied, realize the remaining three parts (soprano, alto, and tenor) to complete the progression.<\/li>\r\n<\/ol>\r\n<span>[h5p id=\"66\"]<\/span>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.4-Preliminary-part-writing.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.4 Preliminary part writing<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 25-5 Part writing with I, IV, and V\"><\/a>EXERCISE 25-5 Part writing with I, IV, and V<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 25-5 Part writing with I, IV, and V<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. Given the Roman numerals and starting notes, complete each passage for four voices (SATB) following the guidelines for part writing we have studied. Label all cadences.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(1)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image159.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image159.png\" width=\"950\" height=\"476\" alt=\"image of Grand Staff, opening chord: A2, C4, E4, A4; chord progression beneath staff is A major: one four five one four one\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(2)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image160.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image160.png\" width=\"961\" height=\"382\" alt=\"image of Grand Staff, opening chord: G2, G3, D4, B-flat 4; chord progression beneath staff is G minor: one four five one\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(3)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image161.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image161.png\" width=\"945\" height=\"458\" alt=\"image of Grand Staff, opening chord: C3, G3, E-flat 4, C4; chord progression beneath staff is C minor: one five one four five one four one\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">PART B. Given the outer voices and assuming all chords are in root position, provide a Roman numeral analysis below the staff. The first Roman numeral for each progression is provided for you. Then complete the missing inner voices (alto and tenor) following the guidelines for part writing we have studied. Label all cadences.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(1)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image162.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image162.png\" width=\"982\" height=\"403\" alt=\"image of outer voices on Grand Staff; soprano: B C B B B C B B; bass: E A E B E A B E; Key labelled as E minor; first Roman numeral labeled as lowercase i; Bs in bass clef with figured bass, top number 5 and lower sharp symbol\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(2)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image163.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image163.png\" width=\"982\" height=\"444\" alt=\"image of outer voices on Grand Staff; soprano: F-sharp G E F-sharp G E; bass: D G A D G A; Key labelled as D major; first Roman numeral labeled as capital I, no other figures given beneath staff\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(3)<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image164.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image164.png\" width=\"982\" height=\"486\" alt=\"image of outer voices on Grand Staff; soprano: D C-sharp D E C-sharp B B A-sharp B; bass: B F-sharp B E F-sharp B E F-sharp B; Key labelled as B minor; first Roman numeral labeled as lowercase i, figures appear beneath F-sharps in bass, with top number as 5 and lower sharp symbol\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.5-Part-writing-with-I-IV-and-V.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.5 Part writing with I, IV, and V<\/a><\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nWant more practice doing part writing? Try this drill: <a class=\"rId361\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/VoiceLeadingTriadsPracticeExercises.html\" style=\"font-size: 1rem\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice exercises with part writing (Hutchinson)<\/span><\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 25-6 Error detection with part writing\"><\/a>EXERCISE 25-6 Error detection with part writing<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 25-6 Error detection with part writing<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Each of the following realizations has errors in it. Your task is to study each connection, identify the errors, and rewrite the connection to correct the errors on the staff provided or a separate sheet of staff paper.<\/p>\r\n<p class=\"import-Normal\">What\u2019s wrong with:<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-1024x242.png\" alt=\"short progressions with part writing errors in them\" width=\"1024\" height=\"242\" class=\"alignnone wp-image-2922 size-large\" \/><\/a>\r\n<p class=\"import-Normal\">Fix it here:<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-1024x230.png\" alt=\"blank Grand Staff with keys and Roman numerals beneath the staff\" width=\"1024\" height=\"230\" class=\"alignnone size-large wp-image-2958\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex26.6-Error-detection.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.6 Error detection<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Voice leading with V7 and its inversions\"><\/a>Voice leading with V7 and its inversions<\/h1>\r\n<p class=\"import-Normal\">Preparing and resolving the dominant seventh (V7) to tonic are relatively straightforward processes, since the V7 contains several tendency tones that influence its voice leading. Here are several points to keep in mind:<\/p>\r\n\r\n<ul>\r\n \t<li><span>Since the seventh of the V7 is considered a dissonance, it needs special preparation. When possible, prepare the seventh by the same note; otherwise, use stepwise motion.<\/span><\/li>\r\n \t<li>Resolve the seventh of the chord (scale degree [latex]\\hat{4}[\/latex]<span style=\"font-size: 14pt\">, \"fa\") down by step (to scale degree [latex]\\hat{3}[\/latex], \"mi\" or \"me\").<\/span><\/li>\r\n \t<li>Resolve the leading tone, which is the third of the chord (scale degree [latex]\\hat{7}[\/latex], \"ti\") up by step (to scale degree [latex]\\hat{1}[\/latex], \"do\"), unless it appears in an inner voice, in which case you may \u201c[pb_glossary id=\"2900\"]frustrate[\/pb_glossary]\u201d it.<\/li>\r\n \t<li>Resolve all other voices using same-note or stepwise motion whenever possible.<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">These principles hold true whether the V7 appears in root position or in any inversion.<\/p>\r\n<p class=\"import-Normal\">The root-position dominant seventh may be [pb_glossary id=\"2962\"]complete[\/pb_glossary], meaning it has a root, third, fifth, and seventh, or it may be [pb_glossary id=\"2963\"]incomplete[\/pb_glossary], meaning it has two roots, a third, and seventh (the fifth is omitted). Complete dominant seventh chords will resolve to incomplete tonic triads (those that have three roots and a third) unless the leading tone is frustrated, in which case both chords will be complete. Incomplete dominant seventh chords will resolve to complete tonic triads.<\/p>\r\n<p class=\"import-Normal\">Inverted seventh chords may not be incomplete. They should always have a root, third, fifth, and seventh.<\/p>\r\n<p class=\"import-Normal\">Several examples of proper resolutions of V7 appear in Example 25\u20117. The unique features of each resolution are summarized beneath each example. In all of the examples, the seventh of the V7 (scale degree [latex]\\hat{4}[\/latex]) resolves down by step to scale degree [latex]\\hat{3}[\/latex], all upper voices move by step or same-note motion except when the leading tone is frustrated, and contrary and oblique motion are used between outer voices whenever possible.<\/p>\r\n<p class=\"import-Normal\">Notice that the last two resolutions shown in Example 25\u20117 feature [pb_glossary id=\"2807\"]unequal fifths[\/pb_glossary] between the alto and soprano voices (with a P5 between F and C moving to a d5 between E and B[latex]\\flat[\/latex]). Unlike [pb_glossary id=\"2835\"]parallel fifths[\/pb_glossary] (movement from P5 to P5), which should be avoided, unequal fifths are used in the styles we are modeling and will be necessary to complete some resolutions.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 25\u20117. Resolutions of V7<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image167.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image167.png\" width=\"1430\" height=\"535\" alt=\"image of chord progressions in four voices on Grand Staff with annotations\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.7.mp3\"][\/audio]\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-25.7-Resolutions-of-V7.pdf\">Example 25.7 Resolutions of V7<\/a><\/div>\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: T40 Part writing V7 to I (7:20)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/AH_rHEdhCiI?si=AbPRy9xO7tmH3aA5\r\n<p class=\"import-Normal\">This video provides an overview of the general principles in resolving V7 chords to tonic. It also shows three specific ways the resolution may work: (1) incomplete V7 to complete tonic triad, (2) complete V7 to incomplete tonic triad, and (3) complete V7 to complete tonic triad by frustrating the leading tone in an inner voice.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 25-7 Part writing with V7\"><\/a>EXERCISE 25-7 Part writing with V7<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 25-7 Part writing with V7<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. Resolve each of the V7 chords according to the principles we have studied. For each problem, one of the chords is given. Fill in all missing notes of the remaining chord so that all chords have four voices ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]).<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 1. Root-position V7 chords may be complete or incomplete. For this set, use complete V7 chords, and resolve each to an incomplete tonic triad.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image168.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image168.png\" width=\"1430\" height=\"407\" alt=\"image of five problems on Grand Staff, in which one chord is given and the other is blank\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 2. For this set, use incomplete V7 chords, and resolve each to a complete tonic triad.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image169.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image169.png\" width=\"1430\" height=\"416\" alt=\"image of five problems on Grand Staff, in which one chord is given and the other is blank\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 3. For this set, use only complete chords. To achieve this, you must frustrate the leading tone in the resolution of the V7.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image170.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image170.png\" width=\"1430\" height=\"413\" alt=\"image of five problems on Grand Staff, in which one chord is given and the other is blank\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 4. All inverted seventh chords should be complete and resolve to a complete triad.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image171.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image171.png\" width=\"1430\" height=\"436\" alt=\"image of five problems on Grand Staff, in which one chord is given and the other is blank\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">PART B. Given the Roman numerals and starting notes, complete the passage for four voices (SATB) following the guidelines for part writing we have studied. Label the cadence.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(1)<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image172.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image172.png\" width=\"1360\" height=\"443\" alt=\"image of Grand Staff, with opening chord: E3, B3, G4, E5. Key is labelled as E minor with Roman numerals: one, five-seven, one, four, five-seven, one, four, one\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(2)<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image173.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image173.png\" width=\"1429\" height=\"602\" alt=\"image of Grand Staff, with opening chord: C2, G3, E-flat 4, C5. Key is labelled as C minor with Roman numerals: one, three, four, five, one, five-seven, one\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.7-Part-writing-with-V7.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.7 Part writing with V7<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Part writing and voicing first-inversion triads\"><\/a>Part writing and voicing first-inversion triads<\/h1>\r\n<p class=\"import-Normal\">Most tonal compositions do not use triads in root position exclusively. Musicians use chords in inversion to create more interesting textures, stepwise bass lines, and greater variety. In general, first inversion triads are not as stable as root-position triads, but they are used in some cadences (e.g., the [pb_glossary id=\"2303\"]IAC[\/pb_glossary]).<\/p>\r\n<p class=\"import-Normal\">Unlike with root-position chords, doubling is flexible when part writing with [pb_glossary id=\"1710\"]first-inversion[\/pb_glossary] chords. If given two equally plausible solutions, some people prefer to double the soprano in any first-inversion triad, but if this creates voice-leading problems, then simply double whatever note makes the voice leading smoothest without creating parallel octaves or fifths.<\/p>\r\n<p class=\"import-Normal\">Ultimately, the most important principles to keep in mind while part writing with first-inversion chords are:<\/p>\r\n\r\n<ul>\r\n \t<li>Prefer stepwise or same note motion in all voices<\/li>\r\n \t<li>Prefer [pb_glossary id=\"2455\"]contrary[\/pb_glossary] motion between outer voices (unless there is a string of ascending first inversion chords, in which case parallel sixths or thirds are normative)<\/li>\r\n \t<li>Avoid doubling the [pb_glossary id=\"677\"]leading tone[\/pb_glossary] (scale degree [latex]\\hat{7}[\/latex])<\/li>\r\n \t<li>Avoid parallel P5 and P8, as always<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Prefer a doubling that makes it possible to execute these principles.<\/p>\r\n\r\n<h1><a id=\"EXERCISE 25-8 Part writing with first-inversion chords\"><\/a>EXERCISE 25-8 Part writing with first-inversion chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 25-8 Part writing with first-inversion chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. Given the Roman numerals and starting notes, complete the passage for four voices ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) following the guidelines for part writing we have studied. Label the cadence.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image174.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image174.png\" width=\"1055\" height=\"459\" alt=\"image of Grand Staff with opening chord: E2, G-sharp 3, E4, and B4. Key is labelled as E major with Roman numerals beneath staff: one, seven diminished six, one six, two six, five, one, five six\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">PART B. Given the starting notes, bass line, and figured bass, write Roman numerals beneath the staff and complete each passage for four voices ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]) following the guidelines for part writing we have studied. If no figure is given beneath the bass, assume a [pb_glossary id=\"1464\"]root-position[\/pb_glossary] triad. Label the cadence.<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image175.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image175.png\" width=\"1136\" height=\"458\" alt=\"image of Grand Staff with opening chord: C3, G3, E-flat 4, and C5. Key is labelled as C minor. Bass line is given: C3, D3, E-flat 3, D3, C3, G2, C3. Figured bass symbols beneath staff, chord by chord: blank; six with a line through it - four - three; six; six with a line through it as top number and three as lower number; blank; seven as top number and sharp symbol beneath it; blank\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.8-Part-writing-with-first-inversion-chords.pdf\">Ex25.8 Part writing with first inversion chords<\/a><\/div>\r\n<div><\/div>\r\n<\/div>\r\n<\/div>\r\nWe will study part-writing principles for chords in [pb_glossary id=\"1711\"]second inversion[\/pb_glossary] in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/chords-in-second-inversion\/\" target=\"_blank\" rel=\"noopener\">Chapter 26<\/a>. For now, know that it is preferable to double the fifth, or [pb_glossary id=\"1466\"]bass[\/pb_glossary], in any second-inversion triad.\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 25<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId362\" href=\"https:\/\/youtu.be\/YdFwl9w1e6o\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Michael Berry's video on part writing<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><span class=\"import-Hyperlink\"><\/span><a class=\"rId363\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/VoiceLeadingTriads.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson<\/span><span class=\"import-Hyperlink\">\u2019<\/span><span class=\"import-Hyperlink\">s chapter on voice leading triads<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId364\" href=\"https:\/\/youtu.be\/9k-ZABPH9fM\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">David Newman\u2019s \u201cSol <\/span><span class=\"import-Hyperlink\">Ti<\/span><span class=\"import-Hyperlink\"> Re Fa Dominant 7 Song\u201d<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId365\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/VoiceLeadingSeventhChordsIntro.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson\u2019s chapter on voice leading seventh chords<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId366\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/19-the-dominant-seventh-chord\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount\u2019s chapter on the dominant seventh chord<\/span><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"satb-part-writing\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 25<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>Basic principles of chord voicing and chord connection in four parts (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2799\">SATB<\/a>) modeled after European Baroque, Classical, and Romantic compositional practice<\/li>\n<li>Part-writing models for root position diatonic chord connections<\/li>\n<li>Strategies for identifying and correcting errors in realizing progressions in four parts<\/li>\n<li>Part-writing models for connecting V7 and its inversions to tonic<\/li>\n<li>Part-writing principles for doubling and first-inversion triads<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Principles of voice leading<\/h1>\n<p class=\"import-Normal\">Baroque, Classical, and Romantic compositions maintain a delicate balance between the melodic (horizontal) aspect of each line and the harmonic (vertical) result of the interactions of the melodic lines. When writing music in these styles, one must strive to achieve logical tonal progressions (the vertical aspect following <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2735\">T-P-D<\/a> patterns) while also creating independent, logical, and musical melodic lines. The guidelines set forth in Figure 25\u20111 will help you meet this goal.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 25\u20111. Guidelines for SATB part writing<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-1024x749.png\" alt=\"List with 18 guidelines\" width=\"1024\" height=\"749\" class=\"alignnone size-large wp-image-4273\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-1024x749.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-300x220.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-768x562.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-1536x1124.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-65x48.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-225x165.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines-350x256.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig-25.1-guidelines.png 1834w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-25-1-Guidelines-1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 25-1 Guidelines<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Connecting root-position triads<\/h1>\n<p class=\"import-Normal\">When connecting root-position chords, use contrary or oblique motion between outer voices whenever possible, which will help to prevent parallel perfect fifths and octaves. Also, prefer stepwise or same note motion in all parts whenever possible, unless stepwise motion causes undesired parallel motion between parts. <span>Each part should be as easy to sing as possible, so if a leap must be used, small leaps are preferable to larger ones.<\/span> Finally, it is preferable to double the root in any root position triad since <span style=\"font-size: 18.6667px\">it is <\/span><span style=\"font-size: 14pt\">generally the most important member of the chord. The exception to this procedure is with the leading tone, which should never be doubled, because it is unstable. Video T36 and Example 25-1 demonstrate these principles in a short musical passage.<\/span><\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T36 Intro to voice leading (16:57)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T36 Intro to Voice Leading\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/RXU2HTy4B5E?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video provides an overview of the basic principles for good voice leading in the Classical and Baroque styles, and walks you through the process of how to complete SATB part writing to realize a short progression of root-position triads. To work through the example on your own, see Example 25-1.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Notice that in the fourth measure of \u201cStep 3,\u201d the alto part moved by a third instead of by stepwise motion. Had the alto part moved from G by step up to A, parallel octaves would have occurred between the bass and alto, so the alto had to move down to E instead.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 25\u20111. Part-writing principles in action: connecting root-position triads<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image149.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image149.png\" width=\"1344\" height=\"1852\" alt=\"image\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-632-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.1.mp3<\/a><\/audio><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-25\u20111.-Part-writing-principles-in-action-connecting-root-position-triads.pdf\" target=\"_blank\" rel=\"noopener\">Example 25\u20111<\/a><\/div>\n<\/div>\n<\/div>\n<p>Sometimes, the fifth may be omitted from a triad, in which case it is preferable to triple the root, resulting in three roots and a third. The final chord of Example 25\u20112 shows a context for this doubling. Here the alto and soprano share tonic, doubling the bass, and the tenor has the third of the tonic chord. This doubling allows for the leading tone in the alto (D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>) to resolve up to tonic.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 25\u20112. Tripling the root<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image150.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image150.png\" width=\"868\" height=\"360\" alt=\"image of one-four-five-one chord progression realized in four parts on Grand Staff, where last chord has three roots and one third\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-632-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">In Examples 25\u20111 and 25\u20112 above, the leading tone resolves up to tonic. In Example 25\u20111, the leading tone is in the soprano voice (C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> in D minor). Whenever the leading tone appears in an outer voice (soprano or bass), it must resolve stepwise up to tonic. In Example 25\u20112, the leading tone appears in the alto voice (D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> in E major). Since the leading tone appears in an inner voice (alto), another solution would be to resolve it to the fifth of the tonic chord instead of up to tonic (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> goes to <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> instead of <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>). This procedure is called \u201c<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2900\">frustrating the leading tone<\/a>\u201d and can only occur when the leading tone is in an inner voice (alto or tenor). Example 25\u20113 demonstrates this procedure with the progression that appeared in Example 25\u20112.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 25\u20113. Frustrating the leading tone in an inner voice<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image151.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image151.png\" width=\"896\" height=\"363\" alt=\"image of one-four-five-one progression realized in four parts on Grand Staff in which alto part resolves from D-sharp to B at the cadence\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-632-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.3-rev.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.3-rev.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.3-rev.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Self-check quiz on principles of voice leading<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<h2><span><\/p>\n<div id=\"h5p-62\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-62\" class=\"h5p-iframe\" data-content-id=\"62\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Mini-quiz on principles of voice leading\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/h2>\n<\/div>\n<\/div>\n<h1><a><\/a>Part-writing models for root-position chords<\/h1>\n<p class=\"import-Normal\">In what follows, we will see best practices for connecting root-position chords based on the relationship of their roots.<\/p>\n<p class=\"import-Normal\">In Example 25\u20114, which shows the connection between root-position chords whose roots are related by fourth or fifth (model 1), notice the following properties:<\/p>\n<ul>\n<li>Keep one common tone (in this example, D in the alto voice)<\/li>\n<li>Two voices move by step (in this example, F up to G in the soprano voice, and A up to B in the tenor voice)<\/li>\n<li>Bass leaps by fourth or fifth, from chord root to chord root (in this example, D to G in the bass voice)<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 25\u20114. Model 1: roots related by fourth or fifth<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image152.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image152.png\" width=\"330\" height=\"345\" alt=\"image of four-voice chord progression connecting two to five in C major. Soprano moves F4 to G4, alto stays on D4, tenor moves A3 to B3, and bass moves D3 to G2.\" class=\"aligncenter\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-632-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.4.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 25-1 Chord connections following model 1<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 25-1 Chord connections following model 1<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Try writing some chord connections following model 1. Select the right arrow over the image to view one possible set of answers.<\/p>\n<p><span><\/p>\n<div id=\"h5p-63\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-63\" class=\"h5p-iframe\" data-content-id=\"63\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 25-1\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.1-Chord-connections-following-model-1.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.1 Chord connections following model 1<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T37 Part-writing models for root position triads: roots related by fourth or fifth (5:15)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T37 Partwriting Models for Root Position Triads: Roots Related by 4th or 5th\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Q02t7eDoy6I?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video demonstrates how to connect root-position triads whose roots are related by fourth or fifth.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">The second model, shown in Example 25\u20115, demonstrates best practices for connecting root-position chords whose roots are a third or sixth apart. This connection has the following properties:<\/p>\n<ul>\n<li>Keep two common tones (in this example, C in the soprano voice and A in the tenor voice)<\/li>\n<li>One voice moves by step (in this example, E up to F in the alto voice)<\/li>\n<li>Bass moves by third or sixth (in this example, A to F in the bass voice)<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 25\u20115. Model 2: roots related by third<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image154.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image154.png\" width=\"330\" height=\"345\" alt=\"image of four-voice chord progression, connecting six to four; soprano stays on C5, alto moves from E4 to F4, tenor stays on A3, and bass moves from A2 to F2\" class=\"aligncenter\" \/><\/a><small><a id=\"_Ref125029088\"><\/a><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-632-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.5.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.5.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.5.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 25-2 Chord connections following model 2<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 25-2 Chord connections following model 2<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Try writing some chord connections following model 2. Select the right arrow over the image to view one possible set of answers.<\/p>\n<p class=\"import-Normal\"><span><\/p>\n<div id=\"h5p-64\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-64\" class=\"h5p-iframe\" data-content-id=\"64\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 25-2\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.2-Chord-connections-following-model-2.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.2 Chord connections following model 2<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T38 Part-writing models for root-position triads: roots related by third (3:09)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T38 Partwriting Models for Root Position Triads: Roots Related by 3rd\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ShnI6CqUKh4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video demonstrates how to connect root-position triads whose roots are related by third.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">The third model, shown in Example 25\u20116, demonstrates best practices for connecting root-position chords whose roots are related by step. These are the most challenging connections to make without problematic parallel motion. This connection has the following properties:<\/p>\n<ul>\n<li>Contrary motion between the upper voices and the bass voice<\/li>\n<li>No common tone connections<\/li>\n<li>Two voices move by step in contrary motion with the bass (in this example, A steps down to G in the soprano voice, and C steps down to B in the tenor voice, while the bass moves up by step from F to G)<\/li>\n<li>One voice moves by a third in contrary motion with the bass (in this example, F moves to D in the alto voice)<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 25\u20116. Model 3: roots related by step<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image156.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image156.png\" width=\"339\" height=\"351\" alt=\"image of four-voice chord progression, connecting four to five; soprano moves from A4 to G4, alto moves from F4 to D4, tenor moves from C4 to B3, and bass moves from F2 to G2\" class=\"aligncenter\" \/><\/a><small><a id=\"_Ref125029337\"><\/a><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-632-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.6.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.6.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.6.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 25-3 Chord connections following model 3<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 25-3 Chord connections following model 3<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Try writing some chord connections following model 3. Select the right arrow over the image to view one possible set of answers.<\/p>\n<p class=\"import-Normal\"><span><\/p>\n<div id=\"h5p-65\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-65\" class=\"h5p-iframe\" data-content-id=\"65\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 25-3\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.3-Chord-connections-following-model-3.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.3 Chord connections following model 3<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T39 Part-writing models for root position triads: roots related by second (5:54)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"T39 Partwriting Models for Root Position Triads: Roots Related by 2nd\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/7TJcQJy3BgQ?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video demonstrates how to connect root-position triads whose roots are related by second.<\/p>\n<\/div>\n<\/div>\n<p>Access the slideshow with an overview of the three models for connecting root position triads here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1eop2VL3fw-Rlmfk-uirXwtj4GJvURQ62jEx6aLeTnGE\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Intro to SATB part writing slides<\/a>.<\/p>\n<h1><a><\/a>EXERCISE 25-4 Preliminary part writing<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 25-4 Preliminary part writing<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image158.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image158.png\" width=\"823\" height=\"431\" alt=\"image of Grand Staff with first chord, soprano B-flat 4, alto F4, tenor D4, bass B-flat; beneath staff key is B-flat major and Roman numerals: one four five one\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">Study the setup of this progression, and then do the following activities:<\/p>\n<ol>\n<li>Given the Roman numerals, write the bass line of this progression on a separate sheet of staff paper.<\/li>\n<li>Following the principles we have studied, realize the remaining three parts (soprano, alto, and tenor) to complete the progression.<\/li>\n<\/ol>\n<p><span><\/p>\n<div id=\"h5p-66\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-66\" class=\"h5p-iframe\" data-content-id=\"66\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Exercise 25-4\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.4-Preliminary-part-writing.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.4 Preliminary part writing<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 25-5 Part writing with I, IV, and V<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 25-5 Part writing with I, IV, and V<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. Given the Roman numerals and starting notes, complete each passage for four voices (SATB) following the guidelines for part writing we have studied. Label all cadences.<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(1)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image159.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image159.png\" width=\"950\" height=\"476\" alt=\"image of Grand Staff, opening chord: A2, C4, E4, A4; chord progression beneath staff is A major: one four five one four one\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(2)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image160.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image160.png\" width=\"961\" height=\"382\" alt=\"image of Grand Staff, opening chord: G2, G3, D4, B-flat 4; chord progression beneath staff is G minor: one four five one\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(3)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image161.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image161.png\" width=\"945\" height=\"458\" alt=\"image of Grand Staff, opening chord: C3, G3, E-flat 4, C4; chord progression beneath staff is C minor: one five one four five one four one\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">PART B. Given the outer voices and assuming all chords are in root position, provide a Roman numeral analysis below the staff. The first Roman numeral for each progression is provided for you. Then complete the missing inner voices (alto and tenor) following the guidelines for part writing we have studied. Label all cadences.<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(1)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image162.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image162.png\" width=\"982\" height=\"403\" alt=\"image of outer voices on Grand Staff; soprano: B C B B B C B B; bass: E A E B E A B E; Key labelled as E minor; first Roman numeral labeled as lowercase i; Bs in bass clef with figured bass, top number 5 and lower sharp symbol\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(2)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image163.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image163.png\" width=\"982\" height=\"444\" alt=\"image of outer voices on Grand Staff; soprano: F-sharp G E F-sharp G E; bass: D G A D G A; Key labelled as D major; first Roman numeral labeled as capital I, no other figures given beneath staff\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(3)<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image164.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image164.png\" width=\"982\" height=\"486\" alt=\"image of outer voices on Grand Staff; soprano: D C-sharp D E C-sharp B B A-sharp B; bass: B F-sharp B E F-sharp B E F-sharp B; Key labelled as B minor; first Roman numeral labeled as lowercase i, figures appear beneath F-sharps in bass, with top number as 5 and lower sharp symbol\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.5-Part-writing-with-I-IV-and-V.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.5 Part writing with I, IV, and V<\/a><\/div>\n<div class=\"textbox shaded\">\n<p>Want more practice doing part writing? Try this drill: <a class=\"rId361\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/VoiceLeadingTriadsPracticeExercises.html\" style=\"font-size: 1rem\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice exercises with part writing (Hutchinson)<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 25-6 Error detection with part writing<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 25-6 Error detection with part writing<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Each of the following realizations has errors in it. Your task is to study each connection, identify the errors, and rewrite the connection to correct the errors on the staff provided or a separate sheet of staff paper.<\/p>\n<p class=\"import-Normal\">What\u2019s wrong with:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-1024x242.png\" alt=\"short progressions with part writing errors in them\" width=\"1024\" height=\"242\" class=\"alignnone wp-image-2922 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-1024x242.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-300x71.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-768x181.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-1536x363.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-2048x484.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-65x15.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-225x53.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-problems-350x83.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p class=\"import-Normal\">Fix it here:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-1024x230.png\" alt=\"blank Grand Staff with keys and Roman numerals beneath the staff\" width=\"1024\" height=\"230\" class=\"alignnone size-large wp-image-2958\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-1024x230.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-300x67.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-768x172.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-1536x345.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-2048x460.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-65x15.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-225x51.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Exercise-25.6-blank-350x79.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex26.6-Error-detection.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.6 Error detection<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Voice leading with V7 and its inversions<\/h1>\n<p class=\"import-Normal\">Preparing and resolving the dominant seventh (V7) to tonic are relatively straightforward processes, since the V7 contains several tendency tones that influence its voice leading. Here are several points to keep in mind:<\/p>\n<ul>\n<li><span>Since the seventh of the V7 is considered a dissonance, it needs special preparation. When possible, prepare the seventh by the same note; otherwise, use stepwise motion.<\/span><\/li>\n<li>Resolve the seventh of the chord (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/><span style=\"font-size: 14pt\">, &#8220;fa&#8221;) down by step (to scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, &#8220;mi&#8221; or &#8220;me&#8221;).<\/span><\/li>\n<li>Resolve the leading tone, which is the third of the chord (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, &#8220;ti&#8221;) up by step (to scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, &#8220;do&#8221;), unless it appears in an inner voice, in which case you may \u201c<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2900\">frustrate<\/a>\u201d it.<\/li>\n<li>Resolve all other voices using same-note or stepwise motion whenever possible.<\/li>\n<\/ul>\n<p class=\"import-Normal\">These principles hold true whether the V7 appears in root position or in any inversion.<\/p>\n<p class=\"import-Normal\">The root-position dominant seventh may be <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2962\">complete<\/a>, meaning it has a root, third, fifth, and seventh, or it may be <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2963\">incomplete<\/a>, meaning it has two roots, a third, and seventh (the fifth is omitted). Complete dominant seventh chords will resolve to incomplete tonic triads (those that have three roots and a third) unless the leading tone is frustrated, in which case both chords will be complete. Incomplete dominant seventh chords will resolve to complete tonic triads.<\/p>\n<p class=\"import-Normal\">Inverted seventh chords may not be incomplete. They should always have a root, third, fifth, and seventh.<\/p>\n<p class=\"import-Normal\">Several examples of proper resolutions of V7 appear in Example 25\u20117. The unique features of each resolution are summarized beneath each example. In all of the examples, the seventh of the V7 (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>) resolves down by step to scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, all upper voices move by step or same-note motion except when the leading tone is frustrated, and contrary and oblique motion are used between outer voices whenever possible.<\/p>\n<p class=\"import-Normal\">Notice that the last two resolutions shown in Example 25\u20117 feature <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2807\">unequal fifths<\/a> between the alto and soprano voices (with a P5 between F and C moving to a d5 between E and B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>). Unlike <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2835\">parallel fifths<\/a> (movement from P5 to P5), which should be avoided, unequal fifths are used in the styles we are modeling and will be necessary to complete some resolutions.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 25\u20117. Resolutions of V7<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image167.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image167.png\" width=\"1430\" height=\"535\" alt=\"image of chord progressions in four voices on Grand Staff with annotations\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-632-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.7.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.7.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-25.7.mp3<\/a><\/audio><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Example-25.7-Resolutions-of-V7.pdf\">Example 25.7 Resolutions of V7<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T40 Part writing V7 to I (7:20)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-5\" title=\"T40 Part Writing V7 to I\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/AH_rHEdhCiI?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video provides an overview of the general principles in resolving V7 chords to tonic. It also shows three specific ways the resolution may work: (1) incomplete V7 to complete tonic triad, (2) complete V7 to incomplete tonic triad, and (3) complete V7 to complete tonic triad by frustrating the leading tone in an inner voice.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 25-7 Part writing with V7<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 25-7 Part writing with V7<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. Resolve each of the V7 chords according to the principles we have studied. For each problem, one of the chords is given. Fill in all missing notes of the remaining chord so that all chords have four voices (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2799\">SATB<\/a>).<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 1. Root-position V7 chords may be complete or incomplete. For this set, use complete V7 chords, and resolve each to an incomplete tonic triad.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image168.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image168.png\" width=\"1430\" height=\"407\" alt=\"image of five problems on Grand Staff, in which one chord is given and the other is blank\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 2. For this set, use incomplete V7 chords, and resolve each to a complete tonic triad.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image169.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image169.png\" width=\"1430\" height=\"416\" alt=\"image of five problems on Grand Staff, in which one chord is given and the other is blank\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 3. For this set, use only complete chords. To achieve this, you must frustrate the leading tone in the resolution of the V7.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image170.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image170.png\" width=\"1430\" height=\"413\" alt=\"image of five problems on Grand Staff, in which one chord is given and the other is blank\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 4. All inverted seventh chords should be complete and resolve to a complete triad.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image171.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image171.png\" width=\"1430\" height=\"436\" alt=\"image of five problems on Grand Staff, in which one chord is given and the other is blank\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">PART B. Given the Roman numerals and starting notes, complete the passage for four voices (SATB) following the guidelines for part writing we have studied. Label the cadence.<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(1)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image172.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image172.png\" width=\"1360\" height=\"443\" alt=\"image of Grand Staff, with opening chord: E3, B3, G4, E5. Key is labelled as E minor with Roman numerals: one, five-seven, one, four, five-seven, one, four, one\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">(2)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image173.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image173.png\" width=\"1429\" height=\"602\" alt=\"image of Grand Staff, with opening chord: C2, G3, E-flat 4, C5. Key is labelled as C minor with Roman numerals: one, three, four, five, one, five-seven, one\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.7-Part-writing-with-V7.pdf\" target=\"_blank\" rel=\"noopener\">Ex25.7 Part writing with V7<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Part writing and voicing first-inversion triads<\/h1>\n<p class=\"import-Normal\">Most tonal compositions do not use triads in root position exclusively. Musicians use chords in inversion to create more interesting textures, stepwise bass lines, and greater variety. In general, first inversion triads are not as stable as root-position triads, but they are used in some cadences (e.g., the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2303\">IAC<\/a>).<\/p>\n<p class=\"import-Normal\">Unlike with root-position chords, doubling is flexible when part writing with <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_1710\">first-inversion<\/a> chords. If given two equally plausible solutions, some people prefer to double the soprano in any first-inversion triad, but if this creates voice-leading problems, then simply double whatever note makes the voice leading smoothest without creating parallel octaves or fifths.<\/p>\n<p class=\"import-Normal\">Ultimately, the most important principles to keep in mind while part writing with first-inversion chords are:<\/p>\n<ul>\n<li>Prefer stepwise or same note motion in all voices<\/li>\n<li>Prefer <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2455\">contrary<\/a> motion between outer voices (unless there is a string of ascending first inversion chords, in which case parallel sixths or thirds are normative)<\/li>\n<li>Avoid doubling the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_677\">leading tone<\/a> (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>)<\/li>\n<li>Avoid parallel P5 and P8, as always<\/li>\n<\/ul>\n<p class=\"import-Normal\">Prefer a doubling that makes it possible to execute these principles.<\/p>\n<h1><a><\/a>EXERCISE 25-8 Part writing with first-inversion chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 25-8 Part writing with first-inversion chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. Given the Roman numerals and starting notes, complete the passage for four voices (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2799\">SATB<\/a>) following the guidelines for part writing we have studied. Label the cadence.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image174.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image174.png\" width=\"1055\" height=\"459\" alt=\"image of Grand Staff with opening chord: E2, G-sharp 3, E4, and B4. Key is labelled as E major with Roman numerals beneath staff: one, seven diminished six, one six, two six, five, one, five six\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">PART B. Given the starting notes, bass line, and figured bass, write Roman numerals beneath the staff and complete each passage for four voices (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_2799\">SATB<\/a>) following the guidelines for part writing we have studied. If no figure is given beneath the bass, assume a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_1464\">root-position<\/a> triad. Label the cadence.<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image175.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image175.png\" width=\"1136\" height=\"458\" alt=\"image of Grand Staff with opening chord: C3, G3, E-flat 4, and C5. Key is labelled as C minor. Bass line is given: C3, D3, E-flat 3, D3, C3, G2, C3. Figured bass symbols beneath staff, chord by chord: blank; six with a line through it - four - three; six; six with a line through it as top number and three as lower number; blank; seven as top number and sharp symbol beneath it; blank\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex25.8-Part-writing-with-first-inversion-chords.pdf\">Ex25.8 Part writing with first inversion chords<\/a><\/div>\n<div><\/div>\n<\/div>\n<\/div>\n<p>We will study part-writing principles for chords in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_1711\">second inversion<\/a> in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/chords-in-second-inversion\/\" target=\"_blank\" rel=\"noopener\">Chapter 26<\/a>. For now, know that it is preferable to double the fifth, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_632_1466\">bass<\/a>, in any second-inversion triad.<\/p>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 25<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId362\" href=\"https:\/\/youtu.be\/YdFwl9w1e6o\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Michael Berry&#8217;s video on part writing<\/span><\/a><\/p>\n<p class=\"import-Normal\"><span class=\"import-Hyperlink\"><\/span><a class=\"rId363\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/VoiceLeadingTriads.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson<\/span><span class=\"import-Hyperlink\">\u2019<\/span><span class=\"import-Hyperlink\">s chapter on voice leading triads<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId364\" href=\"https:\/\/youtu.be\/9k-ZABPH9fM\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">David Newman\u2019s \u201cSol <\/span><span class=\"import-Hyperlink\">Ti<\/span><span class=\"import-Hyperlink\"> Re Fa Dominant 7 Song\u201d<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId365\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/VoiceLeadingSeventhChordsIntro.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson\u2019s chapter on voice leading seventh chords<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId366\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/19-the-dominant-seventh-chord\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount\u2019s chapter on the dominant seventh chord<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_632_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_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_632_2735\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_2735\"><div tabindex=\"-1\"><p>abbreviation for tonic - predominant - dominant harmonic function<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_632_2900\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_2900\"><div tabindex=\"-1\"><p>part-writing process in which instead of the leading tone resolving up to tonic, it resolves to the fifth of the tonic chord (scale degree 7 goes to 5 instead of 1), possible only when the leading tone is in an inner voice (alto or 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_632_2962\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_2962\"><div tabindex=\"-1\"><p>term referring to a triad that has all members (root, third, and fifth) or a seventh chord that has all members (root, third, fifth, and seventh)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_632_2963\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_2963\"><div tabindex=\"-1\"><p>a triad that has the root and third, but omits the fifth; or a seventh chord that has the root, third, and seventh, but omits the fifth<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_632_2807\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_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_632_2835\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_2835\"><div tabindex=\"-1\"><p>motion between two parts in which the harmonic interval formed between them is a P5 going to another P5; this motion is generally avoided in European tonal music<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_632_2303\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_2303\"><div tabindex=\"-1\"><p>abbreviation for \"imperfect authentic cadence,\" which refers to any cadence that moves from dominant function to the tonic triad in which any of the chords is inverted or uses the leading tone chord instead of V, or in which a scale degree other than 1 (\"do\") is in the highest part or melody with the tonic 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_632_1710\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_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_632_2455\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_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_632_677\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_677\"><div tabindex=\"-1\"><p>scale degree 7 in any major, harmonic minor, or ascending melodic minor scale; this scale degree is always a half step below tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_632_1464\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_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_632_1711\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_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><template id=\"term_632_1466\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_632_1466\"><div tabindex=\"-1\"><p>with regard to chords, the lowest sounding note of a particular chord; with regard to voices, the lowest voice part notated in bass clef<\/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":25,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-632","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/632","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":69,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/632\/revisions"}],"predecessor-version":[{"id":7088,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/632\/revisions\/7088"}],"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\/632\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=632"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=632"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=632"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=632"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}