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

 

Copyright © 2001 Irene Girton