Procedures of Four-Part Writing - SFCMTheory

More documents

Recommendations

Info

Identifying Close and Open Open
Identifying Close and Open
Page 1 and 2: Procedures of Four-Part Writing Cho
Page 3 and 4: Notation Style
Page 9 and 10: Doubling Do not think of “double
Page 11 and 12: Complete and Incomplete Chords Chor
Page 13 and 14: Spacing Do not allow more than one
Page 15 and 16: & 4 ? 2 bb b4 Exercises: Dominant T
Page 17 and 18: Open and Close Position Open: a cho
Page 19: Identifying Close and Open
Page 23 and 24: Identifying Close and Open
Page 33 and 34: Keyboard Style Comes from the old s
Page 35 and 36: Melodic Motion
Page 37 and 38: Melodic Motion Conjunct Motion Disj
Page 39 and 40: Leaps Small leaps (up to about a fi
Page 45 and 46: Leaps These are all good
Page 47 and 48: Leaps poor Multiple leaps, som
Page 49 and 50: Simultaneous Motion Parallel Motion
Page 51 and 52: Simultaneous Motion Parallel Motion
Page 53 and 54: Simultaneous Motion
Page 55 and 56: Simultaneous Motion Similar
Page 61 and 62: Simultaneous Motion Parallel
Page 67 and 68: Simultaneous Motion Parallel
Page 71 and 72:
Simultaneous Motion
Page 73 and 74:
Simultaneous Motion Trick Ques
Page 75 and 76:
Simultaneous Motion
Page 77 and 78:
Simultaneous Motion
Page 79 and 80:
Simultaneous Motion Contrary
Page 81 and 82:
Simultaneous Motion
Page 83 and 84:
Forbidden Parallel Motions
Page 85 and 86:
Forbidden Parallel Motions Motion b
Page 87 and 88:
Forbidden Contrary Motions
Page 89 and 90:
Forbidden Contrary Motions Octaves
Page 91 and 92:
Hidden (Direct) Motions Fifths
Page 93 and 94:
Hidden (Direct) Motions
Page 95 and 96:
Hidden (Direct) Motions Hidden, or
Page 97 and 98:
Hidden (Direct) Motions Hidden, or
Page 99 and 100:
Voice Crossing Forbidden for now
Page 101 and 102:
Overlapping Forbidden for now
Page 103 and 104:
Practice The following progression
Page 105 and 106:
Doubled leading tone between bass a
Page 107 and 108:
Parallel fifths between soprano and
Page 109 and 110:
Parallel unison between tenor and a
Page 111 and 112:
Overlap between alto and soprano
Page 113 and 114:
Parallel fifth between bass and alt
Page 115 and 116:
Improperly incomplete chord: no 3rd
Page 117 and 118:
Parallel octaves between bass and s
Page 119 and 120:
Voice crossing between tenor and al
Page 121 and 122:
Parallel fifths between bass and te
Page 123 and 124:
Page 125 and 126:
show all

Procedures of Four-Part Writing - SFCMTheory

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?