1. Rules for Root Position Part-Writing
Chapter 6
Rules for Root Position Part-Writing

2. Rules for Part Writing with Repeated Roots
All Members of the Triad are Present.
*The final I Chord is sometimes incomplete consisting of a 3rd and a tripled root (more on this topic later).
The root is always doubled!!

3. Root Position Part Writing with Roots a 4th/5th Apart
3 Versions
Common Tone and Stepwise: Ex. 6-2
Keep Common Tone between the two chords
The remaining two voices move contrary to the bass line
Similar motion by a 2nd or 3rd : Ex. 6-3
All 3 upper voices move in the same direction (typically opposite of the bass line)
One voice moves by a 2nd, the other two voices move by a 3rd.

4. 4th/5th Rules Cont’d. 3. Tertian Leap, Common Tone, Stepwise: Ex. 6-4
Keep the common tone between chords
Soprano voice leaps to the 3rd of the approaching chord (hence the name Tertian Leap)
The Remaining voice moves stepwise contrary to the bass

5. Root Position Part-Writing with Roots a 3rd/6th Apart
Two Common Tones and Stepwise: Ex. 6-6
Keep the two common tones between the two chords
The remaining voices move by step contrary to the bass line

6. Root Position Part Writing with Roots a 2nd/7th Apart
Contrary to the Bass: Ex. 6-8
The Upper Voices Moves contrary to the bass to the nearest chord tone.
Results in 2 voices moving by step, 1 voice moves by a 3rd
Deceptive Progression: Ex. 6-9
V-VI= Need to Double the 3rd of the chord rather than the Root

7. Instrumental Ranges and Transposition
Concert Pitch vs. Transposed Pitch
Written Range vs. Sounding Range
See Appendix A