Harmony Basics
Name the four voices used in standard SATB four-part harmony
Soprano, Alto, Tenor, Bass
Indicate which clefs soprano/alto and tenor/bass typically use
Soprano & Alto: treble clef. Tenor & Bass: bass clef
In figured bass, what do the numbers represent
Numbers show intervals above the bass that form the vertical chord
For triads in four-part writing, which note is commonly doubled in root position?
Double the root (bass) in root-position triads
Define a leading tone and describe its melodic tendency
Leading tone = the seventh scale degree; it strongly tends to resolve up a half step to the tonic
In four-part keyboard format, how are the notes usually divided between hands?
Typically 1 note in left hand (bass) and 3 notes in right hand (upper voices); notated on two staves (Grand Staff)
What is the guideline for spacing between adjacent upper voices (soprano–alto, alto–tenor)?
Upper adjacent voices should be within an octave of each other
If a bass note has the figures "6 3", which inversion of a triad is this?
6/3 = first inversion (commonly abbreviated "6")
In first inversion triads, which doubling options are acceptable?
In first inversion you may double any chord tone (common to double the soprano or bass depending on context), but avoid doubling tendency tones
What is a chordal dissonance tendency tone commonly found in seventh chords, and how should it resolve?
The 7th of a seventh chord (the chordal seventh) is a tendency tone and typically resolves down by step
Define "triad" and identify its three chord tones by interval above the root
A triad is a three-note chord built of a root, third, and fifth (root, a 3rd above root, a 5th above root)
Explain why voice crossing (one voice going above the next higher voice) is discouraged.
Voice crossing blurs individual voice independence and creates poor voice leading/texture
An accidental appears before a figure with no number (for example, "#" before nothing). Which chord member does it alter by default?
It alters the third above the bass by default
State the rule about doubling for seventh chords
Seventh chords: do not double any note
Provide an example (key and chords) where the leading tone in minor must be raised when forming the V or V7 chord
In G minor, raise F to F# to form D7 (V7); in F minor, raise Eb to E natural for C7 (V)
What determines a chord’s inversion in four-part writing?
The inversion is determined by the lowest sounding note (the bass), not by which note is lowest in the treble staff.
When writing SATB, how should stems be notated to show upper vs. lower voice on the same staff?
Stems up for the upper voice on a staff (Soprano and Tenor), stems down for the lower voice (Alto and Bass) when two voices share a staff.
Describe the process of realizing a figured bass when the root is not immediately obvious
Determine the intervals above the bass, identify chord quality and likely root, check inversion from the bass, and apply doubling rules; accidentals modify the indicated intervals
Why should tendency tones never be doubled?
Doubling tendency tones risks parallel or unresolved leading-tone motion and weakens required resolution
Explain why you should not double the leading tone?
Doubling the leading tone makes parallel motion and prevents the necessary stepwise resolution to tonic; it also can create voice-leading errors and weak cadences
Given the Roman numeral V6, write the intervals above the bass that you would expect in figured-bass shorthand.
6/3 (figures indicate a first-inversion triad above the bass).
Give two reasons for maintaining each voice within its specified range
avoids strain on voices and keeps parts in readable ranges
Realize the following short figured-bass chord: bass = G, figures = 7 (with no accidental). Write the chord (notes) in root position spelling for key of C major and name the chord.
Bass G with figure 7 = a root-position seventh chord built on G: G–B–D–F. In C major, G7 spelled G–B–D–F (V7). (Realizing in four parts: Bass G, Tenor D, Alto B, Soprano F or similar with proper spacing and no doubled tendency tones.)
Given a I–V6/5–I progression in G major, propose a vertical four-part voicing that follows proper doubling and avoids doubling tendency tones
Example voicing for G major I–V6/5–I (one valid answer):
Given a V7 chord in A minor (root-position) realized in SATB, write a correct voicing that raises the leading tone and shows correct resolution to i (include voice labels S-A-T-B and notes), and explain the resolution of the tendency tones.
Example solution (one valid voicing) for V7 → i in A minor: