Moze li neko da objasnui ovo?

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jamesnnnnn
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Joined: 27 May 2017, 03:45

Moze li neko da objasnui ovo?

Post by jamesnnnnn » 27 May 2017, 10:04

*Root Position Part Writing with Repeated Roots *
FOUR-PART TEXTURES
1. All members of the triad are usually present. The final I chord is sometimes incomplete, consisting of a 3rd and a tripled root.
2. The root is usually doubled. The leading tone (7) is almost never doubled because it is such a strong tendency tone.
Where are all the triads present usually? What you mean by this? In each chord, in first chord? What? And, okay, last chord is not completed, 3rd or 5th is taken out.
Root tone is usually doubled, but where is it doubled, in each chord in progression. Where 7th is not doubled, in single chord, first chord, last chord, none chord? You know, I need logic.

Root Position Part Writing with Roots a 4th
(5th) Apart


FOUR-PART TEXTURES
1. Common tone and stepwise. One method for writing this root relationship in four
parts is to keep in the same voice the tone that is common to both chords, while the
remaining two upper parts move by step in the same direction. Th e stepwise motion
will be ascending for root movement of a P5 down (Ex. 6-2a) and descending for root
movement of a P5 up (Ex. 6-2b). Th e purpose of the ties here and in subsequent examples
is only to point out the common tones and not to imply that they must be tied.
Similar motion by 2nd or 3rd. A second method moves all three upper parts in the
same direction, with no leap larger than a 3rd. Th e motion will be descending for a root
movement of a P5 down (or a P4 up) and ascending for a root movement of a P5 up (or
P4 down). Notice that the leading tone in Example 6-3c does not resolve to 1 but instead ˆ
leaps down to 5. Thˆ is is perfectly acceptable if it occurs in an inner voice, as it does here.
Tertian leap, common tone, stepwise. A third method, although not as smooth as
the fi rst two, is useful for changing between close and open structures. As in the fi rst
method, we keep in the same voice the tone that is common to both chords, but the
voice that has the 3rd in the fi rst chord leaps to provide the 3rd in the second chord.
Th e remaining voice moves by step. Notice that the leading tone in Example 6-4c does
not resolve to ˆ
1 but instead leaps up to ˆ
As with Example 6-3c, this is perfectly acceptable
if it occurs in an inner voice.

Root Position Part Writing with Roots a 3rd
(6th) Apart


FOUR-PART TEXTURES Two common tones and stepwise. Assuming that the fi rst of the two root position triads
has a doubled root, only one of the upper voices will need to move. Th e two upper voices
that have tones in common with the second chord remain stationary, whereas the remaining
voice moves by step. Th e stepwise motion will be upward for roots a descending 3rd
apart (Ex. 6-6a) and downward for roots an ascending 3rd apart (Ex. 6-6b).

Root Position Part Writing with Roots a 2nd
*(7th) Apart *


FOUR-PART TEXTURES
Contrary to the bass. If the root is doubled in the fi rst chord, as is usually the case, the
voice leading is usually quite simple: If the bass moves up by step, the upper voices move
down to the nearest chord tone (Ex. 6-8a), whereas if the bass moves down by step, the
upper voices move up to the nearest chord tone (Ex. 6-8b).
Th e progression V–vi (or V–VI) is known as the deceptive progression, for reasons that
will become clear in the next chapter. In terms of voice leading, deceptive progressions
present some special problems. In most cases the leading tone (7) moves parallel with the ˆ
bass, resolving up to tonic (ˆ
1), whereas the other two voices move down, contrary to the
bass, to the next available chord tones. Th is results in a doubled 3rd in the vi (or VI) chord,
as in Example 6-9a and b. In the major mode, if the leading tone is in an inner voice, it may
move down by step to 6, as in Example 6-9c, because the lack of resolution is not so appar- ˆ
ent to the ear. Th is is not acceptable in the minor mode, however, because of the awkward
interval of a 2 that results, as in Example 6-9d.

Kristiko
Posts: 777
Joined: 31 Jan 2009, 02:43
Location: Beograd, Srbija
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Re: Moze li neko da objasnui ovo?

Post by Kristiko » 27 May 2017, 16:05

Koliko ja ovo razumem iz čitanja, ovo je harmonizacija u četvoroglasu. Imaš basov ton koji može biti osnovni ton akorda, terca akorda i drugi intervali i onda se u tekstu objašnjava koji ton valja udvojiti, koje tonove treba izbegavati u zapisivanju, kako bi neki od tonova mogao da se razreši ili ne. Treba mi malo da se udubim u materiju da bih skontao sve, ali mislim da je to u suštini objašnjavanje postavke akorada u čestvoroglasu u harmoniji.

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