Alto VOICE plus Manuel d'utilisateur

Getting Started with 4-part HarmonySome of you have already written chord progressions in a previous theory class. However, itis my experience that f

How do you know youve found the next-closest V chord? All the voices will move by athird or less.The next-next closest = wrong.If you choose a con

Exercises (for in-class)A. Common-Tone ConnectionsOnce again Ill pick the top note -- all you need to do is fill in the alto and tenor to make aprope

B. Next-closest Connections12Same deal as the previous page.1.2.This line requires a mix of common-tone and next-closest connections.3.Make your own p

The Third to Third technique (Ottman p. 95)Up until now weve been making our progressions in all open or all closed voicings. Theres a goodreason

SATB style helps you think of the progression as though it was choral music. SATB stands,of course, for the standard division of choral parts - sopra

Open vs. Closed VoicingsSo far in this packet Ive written everything in closed voicings. (Also called close voicings.) The triads in the upper v

Not following the skippattern causes spacing anddoubling problems.Your spacing is wrong whenthere is more than an octavebetween any adjacent pair of

In general it is not advisable to flip-flop between open and closed voicings, nor is it smart tomove frequently between the two styles -- better to pi

Take these little progressions which are written in close voicings, keyboard style, and convertthem to open voicings, SATB. All you really have to

A. Good closed voicingB. Spacing errorC. Good open voicingD. Bad doublingAssign a letter to each one of these excerpts.C. Error FindingD. Making

( = Ottmans First Procedure p. 92)We are going to carefully build up a vocabulary of chord progressions. Each stop on the waywill introduce both a

( = Ottmans Second Procedure p. 92)The Next-Closest V-ChordSo youve probably figured out by now that when you write out the upper three voices o