VOICE-LEADING KEY for
4-part harmony
Use this key to check your work and
interpret corrections on your assignments.
|
1a. |
||8ves
|
|
1b. |
||5ths |
|
2. |
Incorrect
quality (wrong analysis) |
|
3. |
LT
doubled |
|
4. |
LT
missing (in minor) |
|
5. |
LT
clashing with natural 7 (in minor) |
|
6. |
Melodic
A2 (6-LT in minor) |
|
7a. |
No
root |
|
7b. |
No
3rd |
|
8. |
RLTBS (resolve leading tone up by step in soprano or
bass) |
|
9. |
R7th¯BS (resolve chord 7th down by step) |
|
10. |
Rsus¯BS |
|
11. |
Chord
7th doubled |
|
12. |
Note
(or chord) not indicated by figured bass |
|
13. |
Avoid
diminished triad in root position |
|
14. |
Resolve
altered tone in direction of its alteration, or keep it in same voice |
|
15. |
Spacing
too wide (>8ve) between adjacent upper voices |
|
16. |
Unnecessary
leaping |
|
17. |
Note
doesn't belong to chord |
|
18a. |
Harmonic
analysis missing or incorrect |
|
18b. |
Wrong
key |
|
19. |
Improper
use of chord |
|
20. |
Overlapping |
|
21. |
Voice
crossing |
|
22. |
Stems
missing or incorrect stem direction |
|
23. |
Poor
notation in general |
|
24. |
Too
many or too few beats in the measure |
|
25. |
No
meter chosen |
|
26. |
Rhythm
conflicts with meter |
|
27. |
Weak-beat
cadence |
|
28. |
Not
a strong (root-position) cadence |
VOICE-LEADING
KEY for species counterpoint
|
1. |
Starting
intervals for upper counterpoint: 3rd, 5th, 8ve, 10th, or 12th |
|
2. |
Starting intervals for lower counterpoint: unison
or 8ve |
|
3. |
Final interval for upper counterpoint: P8 |
|
4. |
Final interval for lower counterpoint: P8 or P1 |
|
5. |
Penultimate
note (upper and lower counterpoint): 7 or LT (except Phrygian mode – no LT) |
|
6. |
Recover all skips >4th with change of
direction and stepwise motion |
|
7. |
No dissonant melodic skips (be especially vigilant
re tritones) |
|
8. |
No dissonant harmonic intervals in 1st
species; dissonant harmonic intervals strictly controlled in other species
(refer to Guidelines) |
|
9. |
No direct chromaticism |
|
10. |
No voice crossing |
|
11. |
Consider the melodic line you’re writing, as well
as its intervallic relationships with the CF. Avoid bland, aimless melodic
writing |
|
12. |
Give your counterpoint a unique climax |
|
13. |
Keep your counterpoint within its normal voice
range (refer to Guidelines) |
|
14. |
No parallel 8ves or parallel unisons |
|
15. |
No parallel 5ths or parallel 12ths |
|
16. |
No hidden 8ves, 5ths, unisons, or 12ths in 2-voice
textures (refer to textbook to review hidden perfect intervals) |
|
17. |
No more than 2 ties per 1st species exercise |
|
18. |
No ties from short note values (5th
species) |
|
19. |
Avoid overuse of too many eighth note pairs (5th
species) |
|
20. |
No leaping into, out of, or within eighth note
pairs (5th species) |
|
21. |
Make sure all intervals are labeled correctly |