Flavors of classical harmony
- 4-part harmony in keyboard style
- 4-part harmony in SATB style: each staff has two voices, check the stem direction
- Keyboard-style full voicing: prioritize volume and density over counterpoint; stick as many voices in between the outer voices as you can; make the texture as thick as possible
We'll focus mainly on the SATB style for the next two weeks
Where did these rules come from? The music (hymns) came first, then codified as a grammar passed down from composer to apprentice
Constraints of SATB style
Range
- Soprano: C4-G5
- Alto: G3-C5
- Tenor: C3-G4
- Bass: E2-C4
Single chord
- No voice crossing
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Spacing: 1 8ve max between S-A, A-T; no limit on T-B
- Why? Mostly because that's what composers did. But you can relate it to the overtone series — lower intervals sound muddier, want wider intervals
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Doubling (3 notes in a triad, 4 voice parts, we need to double something)
- Root position: double the bass/root
- Sonority: use sevenths and triads
Voice leading from one chord to another
Practice notes
Reducing figurated harmonies to chords
Artusi-Montiverdi controversy (1600): where the V7 came from