{"id":653,"date":"2023-05-11T19:03:56","date_gmt":"2023-05-11T19:03:56","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/composing-out-progressions\/"},"modified":"2025-08-14T19:25:23","modified_gmt":"2025-08-14T19:25:23","slug":"composing-out-progressions","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/composing-out-progressions\/","title":{"raw":"Composing out progressions","rendered":"Composing out progressions"},"content":{"raw":"<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 27<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nIn this chapter, we will learn:\r\n<ul>\r\n \t<li>How to transform music in [pb_glossary id=\"1762\"]homorhythmic[\/pb_glossary] textures to other types of texture<\/li>\r\n \t<li>How to realize chord progressions in four parts in various textures<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<div class=\"no-overflow\" id=\"yui_3_17_2_1_1697206145857_42\">\r\n<p id=\"yui_3_17_2_1_1697206145857_45\">In the previous chapters, we focused on part writing in four parts. Now we take the next step\u2014how to transform this [pb_glossary id=\"1762\"]homorhythmic[\/pb_glossary] part writing into different musical textures. <span>There\u2019s nothing wrong with homorhythmic textures, of course.<\/span> You could play progressions in blocked chords at the piano, assign each voice to be sung [pb_glossary id=\"2799\"]SATB[\/pb_glossary], or transcribe them for a string quartet as is, without changing any rhythm, and it will sound just fine. But if you want greater variety, there are a number of [pb_glossary id=\"1767\"]homophonic[\/pb_glossary] textures we can use to create contrasting-sounding pieces.<\/p>\r\n\r\n<h1><a id=\"Models for composing out progressions\"><\/a>Models for composing out progressions<\/h1>\r\nThere are many ways to realize a homorhythmic SATB progression in homophonic textures without changing the underlying voice leading. After you choose a desired non-homorhythmic texture, the most important aspect will be retaining the note and register placement of each voice in the texture.\r\n\r\nTake Example 27-1 as a homorhythmic model, not unlike the chord progressions we have written up until this point. This example uses the principles of voice leading we have studied, with open chord voicing, logical resolutions of the leading tone, and mostly stepwise or same-note motion in the upper voices.\r\n\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 27-1. Homorhythmic model<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-1024x296.png\" alt=\"image of homorhythmic chord progression in C minor\" width=\"1024\" height=\"296\" class=\"alignnone size-large wp-image-3079\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExamples 27-2 and 27-3 illustrate two different realizations of the progression in Example 27-1, with [pb_glossary id=\"1780\"]arpeggiation[\/pb_glossary]. Example 27-2 recasts the progression in a simple triple meter. It places the soprano and bass notes of each chord on the downbeat, and it postpones the appearance of the alto and tenor parts to beats 2 and 3 respectively to create an arpeggiated texture.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 27-2. Realization with arpeggiation<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-1024x267.png\" alt=\"image of arpeggiated progression in 3\/4\" width=\"1024\" height=\"267\" class=\"alignnone size-large wp-image-3085\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExample 27-3 presents the progression in [latex]{}^{12}_8[\/latex] and uses the soprano part as the primary melody, while the lower voices create an arpeggiated pattern. Examples 27-2 and 27-3 are just two examples of myriad possibilities using arpeggiated textures. It is possible to make any of the four parts the primary melody using longer, sustained durations and\/or strong metric placements. You can change the direction and patterns of arpeggiation as well.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 27-3. Another realization with arpeggiation<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-1024x239.png\" alt=\"image of progression with arpeggiation in 12\/8\" width=\"1024\" height=\"239\" class=\"alignnone size-large wp-image-3089\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.3.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExamples 27-4 and 27-5 illustrate two contrasting textures exploring different rhythmic patterns. Example 27-4, in simple quadruple meter, presents the bass part in quarter notes, while the upper voices use a syncopated pattern to create a homophonic \"oom-pah\" texture. [pb_glossary id=\"3094\"]Syncopation[\/pb_glossary] is the process of placing rhythmic attacks in metrically weak positions, or \"off\" the beat. As in the previous examples, Example 27-4 retains the note and exact octave placement of each part, but the rhythmic placement shifts to create a new texture.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 27-4. Realization with syncopation in upper voices<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-1024x278.png\" alt=\"image of progression in 4\/4 with syncopation in upper voices\" width=\"1024\" height=\"278\" class=\"alignnone size-large wp-image-3093\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.4.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExample 27-5 uses the same rhythm in the bass line, but instead places focus on the soprano with even longer sustained durations. Syncopation is now in the inner voices (alto and tenor).\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 27-5. Realization with syncopation in inner voices<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-1024x298.png\" alt=\"image of progression in 4\/4 with syncopation in inner voices\" width=\"1024\" height=\"298\" class=\"alignnone size-large wp-image-3098\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.5-rev.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nExamples 27-2 through 27-5 are just four possible realizations out of many. Your own creativity is the only limit to what is possible texturally. As you create new textures for progressions, keep in mind playability (how hard is it to perform?), coherence, and always maintaining the note and register placement of each voice.\r\n<h1><a id=\"EXERCISE 27-1 Composing out a progression\"><\/a>EXERCISE 27-1 Composing out a progression<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 27-1 Composing out a progression<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nThis exercise is designed to teach you how to compose out an SATB progression in a non-homorhythmic texture. To this end:\r\n<ol>\r\n \t<li>After reviewing the models in this chapter, choose one of the progressions you completed in Parts B or C in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex26.2-Part-writing-with-chords-in-all-inversions.pdf\">Ex26.2 Part writing with chords in all inversions<\/a>.<\/li>\r\n \t<li>Take this progression and compose it out using a homophonic texture with arpeggiation or rhythmic elaboration. You may write your composition on staff paper with pencil or using a notation program.<\/li>\r\n<\/ol>\r\n<strong>Tips for success:<\/strong>\r\n<ul>\r\n \t<li>Do not change the octave or register placement of your voice leading. We should be able to trace each part (soprano, alto, tenor, and bass) in the exact register and octave placement in which they appeared in the original exercise.<\/li>\r\n \t<li>Your composition should be written using a [pb_glossary id=\"251\"]grand staff[\/pb_glossary] and have clefs, a key signature on both staves, and a time signature.<\/li>\r\n \t<li>If you need to use more than one system, each system after the first should have clefs and key signatures, but no time signature.<\/li>\r\n \t<li>All measures should contain the correct number of beats.<\/li>\r\n \t<li>If handwriting your composition, take great care with the vertical alignment of notes. Notes played successively should appear in succession, and notes played simultaneously should appear aligned vertically.<\/li>\r\n<\/ul>\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\/Ex27.1-Composing-out-a-progression.pdf\" target=\"_blank\" rel=\"noopener\">Ex27.1 Composing out a progression<\/a><\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 27<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>In this chapter, we will learn:<\/p>\n<ul>\n<li>How to transform music in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_653_1762\">homorhythmic<\/a> textures to other types of texture<\/li>\n<li>How to realize chord progressions in four parts in various textures<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<div class=\"no-overflow\" id=\"yui_3_17_2_1_1697206145857_42\">\n<p id=\"yui_3_17_2_1_1697206145857_45\">In the previous chapters, we focused on part writing in four parts. Now we take the next step\u2014how to transform this <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_653_1762\">homorhythmic<\/a> part writing into different musical textures. <span>There\u2019s nothing wrong with homorhythmic textures, of course.<\/span> You could play progressions in blocked chords at the piano, assign each voice to be sung <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_653_2799\">SATB<\/a>, or transcribe them for a string quartet as is, without changing any rhythm, and it will sound just fine. But if you want greater variety, there are a number of <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_653_1767\">homophonic<\/a> textures we can use to create contrasting-sounding pieces.<\/p>\n<h1><a><\/a>Models for composing out progressions<\/h1>\n<p>There are many ways to realize a homorhythmic SATB progression in homophonic textures without changing the underlying voice leading. After you choose a desired non-homorhythmic texture, the most important aspect will be retaining the note and register placement of each voice in the texture.<\/p>\n<p>Take Example 27-1 as a homorhythmic model, not unlike the chord progressions we have written up until this point. This example uses the principles of voice leading we have studied, with open chord voicing, logical resolutions of the leading tone, and mostly stepwise or same-note motion in the upper voices.<\/p>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 27-1. Homorhythmic model<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-1024x296.png\" alt=\"image of homorhythmic chord progression in C minor\" width=\"1024\" height=\"296\" class=\"alignnone size-large wp-image-3079\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-1024x296.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-300x87.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-768x222.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-1536x443.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-2048x591.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-65x19.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-225x65.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.1-original-350x101.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-653-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Examples 27-2 and 27-3 illustrate two different realizations of the progression in Example 27-1, with <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_653_1780\">arpeggiation<\/a>. Example 27-2 recasts the progression in a simple triple meter. It places the soprano and bass notes of each chord on the downbeat, and it postpones the appearance of the alto and tenor parts to beats 2 and 3 respectively to create an arpeggiated texture.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 27-2. Realization with arpeggiation<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-1024x267.png\" alt=\"image of arpeggiated progression in 3\/4\" width=\"1024\" height=\"267\" class=\"alignnone size-large wp-image-3085\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-1024x267.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-300x78.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-768x200.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-1536x401.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-2048x535.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-65x17.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-225x59.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.2-350x91.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-653-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Example 27-3 presents the progression in <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-1121d54538f5b6e1d2a6aec47619a274_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#123;&#125;&#94;&#123;&#49;&#50;&#125;&#95;&#56;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"14\" style=\"vertical-align: -5px;\" \/> and uses the soprano part as the primary melody, while the lower voices create an arpeggiated pattern. Examples 27-2 and 27-3 are just two examples of myriad possibilities using arpeggiated textures. It is possible to make any of the four parts the primary melody using longer, sustained durations and\/or strong metric placements. You can change the direction and patterns of arpeggiation as well.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 27-3. Another realization with arpeggiation<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-1024x239.png\" alt=\"image of progression with arpeggiation in 12\/8\" width=\"1024\" height=\"239\" class=\"alignnone size-large wp-image-3089\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-1024x239.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-300x70.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-768x179.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-1536x359.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-2048x478.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-65x15.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-225x53.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.3-350x82.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-653-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.3.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Examples 27-4 and 27-5 illustrate two contrasting textures exploring different rhythmic patterns. Example 27-4, in simple quadruple meter, presents the bass part in quarter notes, while the upper voices use a syncopated pattern to create a homophonic &#8220;oom-pah&#8221; texture. <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_653_3094\">Syncopation<\/a> is the process of placing rhythmic attacks in metrically weak positions, or &#8220;off&#8221; the beat. As in the previous examples, Example 27-4 retains the note and exact octave placement of each part, but the rhythmic placement shifts to create a new texture.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 27-4. Realization with syncopation in upper voices<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-1024x278.png\" alt=\"image of progression in 4\/4 with syncopation in upper voices\" width=\"1024\" height=\"278\" class=\"alignnone size-large wp-image-3093\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-1024x278.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-300x81.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-768x208.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-1536x416.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-2048x555.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-65x18.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-225x61.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.4-350x95.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-653-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.4.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Example 27-5 uses the same rhythm in the bass line, but instead places focus on the soprano with even longer sustained durations. Syncopation is now in the inner voices (alto and tenor).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 27-5. Realization with syncopation in inner voices<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-1024x298.png\" alt=\"image of progression in 4\/4 with syncopation in inner voices\" width=\"1024\" height=\"298\" class=\"alignnone size-large wp-image-3098\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-1024x298.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-300x87.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-768x224.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-1536x447.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-2048x596.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-65x19.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-225x65.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-27.5-350x102.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-653-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.5-rev.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.5-rev.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-27.5-rev.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>Examples 27-2 through 27-5 are just four possible realizations out of many. Your own creativity is the only limit to what is possible texturally. As you create new textures for progressions, keep in mind playability (how hard is it to perform?), coherence, and always maintaining the note and register placement of each voice.<\/p>\n<h1><a><\/a>EXERCISE 27-1 Composing out a progression<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 27-1 Composing out a progression<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>This exercise is designed to teach you how to compose out an SATB progression in a non-homorhythmic texture. To this end:<\/p>\n<ol>\n<li>After reviewing the models in this chapter, choose one of the progressions you completed in Parts B or C in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex26.2-Part-writing-with-chords-in-all-inversions.pdf\">Ex26.2 Part writing with chords in all inversions<\/a>.<\/li>\n<li>Take this progression and compose it out using a homophonic texture with arpeggiation or rhythmic elaboration. You may write your composition on staff paper with pencil or using a notation program.<\/li>\n<\/ol>\n<p><strong>Tips for success:<\/strong><\/p>\n<ul>\n<li>Do not change the octave or register placement of your voice leading. We should be able to trace each part (soprano, alto, tenor, and bass) in the exact register and octave placement in which they appeared in the original exercise.<\/li>\n<li>Your composition should be written using a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_653_251\">grand staff<\/a> and have clefs, a key signature on both staves, and a time signature.<\/li>\n<li>If you need to use more than one system, each system after the first should have clefs and key signatures, but no time signature.<\/li>\n<li>All measures should contain the correct number of beats.<\/li>\n<li>If handwriting your composition, take great care with the vertical alignment of notes. Notes played successively should appear in succession, and notes played simultaneously should appear aligned vertically.<\/li>\n<\/ul>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex27.1-Composing-out-a-progression.pdf\" target=\"_blank\" rel=\"noopener\">Ex27.1 Composing out a progression<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_653_1762\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_653_1762\"><div tabindex=\"-1\"><p>a type of texture where all parts use the same rhythm, or mostly the same rhythm<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_653_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_653_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_653_1767\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_653_1767\"><div tabindex=\"-1\"><p>textures that feature a melody with an accompaniment<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_653_1780\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_653_1780\"><div tabindex=\"-1\"><p>chords played one note at a time<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_653_3094\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_653_3094\"><div tabindex=\"-1\"><p>the process of placing rhythmic attacks in metrically weak positions, or \"off\" the beat<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_653_251\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_653_251\"><div tabindex=\"-1\"><p>in Western music notation, a commonly used two-staff system, connected with a bracket, in which the top staff uses treble clef and the bottom uses bass clef; often used for piano music notation<\/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":27,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-653","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/653","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":25,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/653\/revisions"}],"predecessor-version":[{"id":7075,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/653\/revisions\/7075"}],"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\/653\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=653"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=653"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=653"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=653"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}