1. Voicing Chords in Multiple Parts: Instrumentation
Chapter 11
Voicing Chords in Multiple Parts:
Instrumentation

2. Key Concept on page 184
Smooth voice-leading in four voice harmony is based on connection by step or skip, as in species counterpoint.
Intervals between pairs of voices in four-part harmony follow any of the guidelines for consonance and dissonance treatment we learned in Chapter 8.

3. Key Concept page 184 Example
Smooth voice-leading in four voice harmony is based on connection by step or skip, as in species counterpoint.
Jumpy; Unconnected
Connected; Smooth Line

4. What is doubling? How do you double?
Doubling is exactly what it sounds like…you have to repeat a pitch in four (or more) part harmony with triads or (7th) chords
Usually you double the root (safest technique), or another chord tone if necessary for voice-leading purposes

5. Key Concept page 185
Keep in mind the following doubling guidelines for triads.
If the triad is in root position (and major or minor quality), we usually double the root. Sometimes we double the third or fifth, but these doubling are much less common.
If the triad is in first inversion, double any chord member that is not a tendency tone (a scale degree or chord member that music be resolved) or other altered tone. Doubling the soprano is a common strategy (for major or minor triads only).
If the triad is in second inversion, double the fifth (the bass). This is the only standard doubling for second-inversion chords.
Never double a tendency tone. This guideline applies most frequently to the leading tone of the key (7) and to the seventh of the dominant seventh chord (4), but includes any tones that must be resolved, such as chromatic passing tones and altered tones.
For diminished triads (which typically appear in first inversion), double the third of the chord. Doubling the root emphasizes the dissonance and causes voice-leading problems (see Chapter 14). Occasionally, the fifth may be doubled.

6. Key Concept page 185 Examples for #1
Root
5th
3rd
Root
5th
3rd
Major Triad Root Position
Doubled Root
Minor Triad Root Position
Doubled Root
1. If the triad is in root position (and major or minor quality), we usually double the root. Sometimes we double the third or fifth, but these doubling are much less common.

7. Key Concept page 185 Examples for #2
Root
5th
3rd
Root
5th
3rd
Major Triad - First Inversion
Doubled the Root
Minor Triad - First Inversion
Doubled the 5th
2. If the triad is in first inversion, double any chord member that is not a tendency tone (a scale degree or chord member that music be resolved) or other altered tone. Doubling the soprano is a common strategy (for major or minor triads only).
Mr. Deininger’s advice - “Try to double in the following order: Root, 5th, 3rd.”

8. Key Concept page 185 Examples for #3
Root
5th
3rd
Root
3rd
5th
Major Triad - Second Inversion
Double the 5th
Minor Triad - Second Inversion
Double the 5th
3. If the triad is in second inversion, double the fifth (the bass). This is the only standard doubling for second-inversion chords.

9. Key Concept page 185 Examples for #4
3rd
5th
Root
5th
3rd
Root
Minor V Triad (Major in Minor) - Root Position
Double the 3rd
DO NOT DO THIS!
Major V Triad - Root Position
Double the 3rd
DO NOT DO THIS!!
4. Never double a tendency tone. This guideline applies most frequently to the leading tone of the key (7) and to the seventh of the dominant seventh chord (4), but includes any tones that must be resolved, such as chromatic passing tones and altered tones.

10. Key Concept page 185 Examples for #5
3rd
5th
Root
5th
Root
3rd
vii in Major Key
Double the 3rd
1st choice
vii in Major Key
Double the 5th
2nd choice
5. For diminished triads (which typically appear in first inversion), double the third of the chord. Doubling the root emphasizes the dissonance and causes voice-leading problems (see Chapter 14). Occasionally, the fifth may be doubled.

11. Key Concept page 185 #4 & #5 in Layman’s Terms
In V(7) triads/chords
DO NOT DOUBLE THE 3rd
DO NOT DOUBLE THE 7th
In vii triads/chord
DO NOT DOUBLE THE ROOT
In minor ONLY - the ii triad/chords

12. Writing 7th Chords in 4 Voices
Check to make sure all 4 tones of the chord are present
Make sure all of the parts lie within the vocal range of each specific voice
Diminished Chords - Double the 3rd (or 5th) - NOT THE ROOT or 7TH

13. Analyze Four Part Writing
We have done this early in the year…
America the Beautiful
Amazing Grace
Steps to analyze for success
Look at the notes you have in the triad/chord
Look at the note in the bass
Does it make sense as the root?
Is it in an inversion?
Look at what is doubled? (Does it help determine what the root is OR if it is in an inversion?)

14. Example Look at the example below…lets go through it together I vi6 V
What notes are used below?
What notes are used below?
What notes are used below? C E G A C E A C F
I vi6 V

15. Different Small Instrumental Ensembles
Usually grouped according to sound (timbre), volume (dynamic range), and make (instrument families)
Modern ensembles = anything goes
Tradition groupings:
Woodwind Quartet (4 players: flute, clarinet, oboe, and bassoon)
Woodwind Quintet (5 players: flute, clarinet, oboe, bassoon, and French horn)
Brass Quartet (4 players: 2 trumpets, 2 trombones (sometimes a French horn in place of a trombone)
Brass Quintet (5 players: 2 trumpets, French horn, trombone, bass trombone/tuba)
Duets/Trios/Quartets of like instruments (example a bassoon quartet is 4 bassoon players (though no one will want to hear that!))

16. Different Large Instrumental Ensembles
String Orchestra - Just STRING Instruments
Violins (1st and 2nd), Viola, Cello, and Bass
Orchestra - Strings, Woodwind (no saxophones), Brass, and Percussion
Instrumentation Varies (The “standard” orchestra has changed over time - the farther you go back in history the smaller the orchestra. The orchestra for Handel is MUCH smaller than the orchestra for Wagner or Stravinsky)
Wind Ensembles (Concert Bands) - Woodwinds (including saxophones), Brass, and Percussion
Jazz Bands/Big Bands - Saxophones, Trumpets, Trombones, Bass, Piano, Drum Set, Guitar
Varies for style (Latin, Bop, (True) Swing, Funk, etc.)

17. When Composing/Arranging…
…skill of players (more advance = more flexible in writing; beginners need easier/more basic writing)
…instruments themselves (range, sound, function)
…groupings (having a flute and saxophone playing together is a different sound than a flute and trumpet…some describe it as creating different colors (timbre))

18. Different Ensemble Scores
Full Score -
Woodwinds
Brass
Percussion
Strings (if in that ensemble)
Condensed Score - Shows parts played, not what each instruments play (Concert Score (C Score))
Transposed Score
Shows the notes for each instrument to play, not the concert pitch
Concert Score (C Score) - VERY RARE in full scores (usually in condensed form)
Has the concert pitches not the pitches written for each instrument

19. Transposition
Non-Transposing Instruments: Piccolo, Flute, Oboe, Trombone, Bass Clef Baritone, Tuba, Violin, Viola, Cello, Bass, Guitar, Mallet Percussion, and Harp
Transposing Instruments - noted pitch are the sounding pitches
Many transposing instruments play in different keys
Bb Instruments: Clarinet, Bass Clarient, Contra Bass Clarinet, Soprano Saxophone, Tenor Saxophone, Trumpet, Treble Clef Baritone/Euphonium, Teble Clef Trombone
Eb Instruments: Clarinet, Alto Clarinet, Contra Alto Clarinet, Alto Saxophone, Baritone Saxophone
F Instruments: English horn and French horn
A Instruments: A clarinets
Clarinets, Trumpets, and French Horns can be written in several different keys such as C, Bb, A, Eb, or D.

20. Transposition

21. Key Concept page 190
To remember how to transpose for scores, imagine that the notates pitch is C. When the performers reads a C, the resulting sounding pitch (or concert pitch) is that associated with the name of the instrument - in the case of the Bb clarinet, the sounding pitch Bb. When you write for transposing instruments, you need to transpose the players’ parts so that the notes are heard at concert pitch. What you see is the notated pitch; what you hear is the concert (sounding) pitch.

22. SAY WHAT? In other words -
When writing out the parts you must write them in the key of the instrument playing. If the concert key is Bb, then Bb instruments will play in C, F Instruments willing play in F, and Eb instruments will in G.

23. How do you transpose?
There are a few ways to transpose - your job is to find a way that works best for you.
Transposing by intervals (Have vs. Need)
Using solfege/scale degree
Circle of 5ths
Clef method

24. Before we begin…we need to know… Summary on page 192
Bb instruments: notated key is a whole step above concert-pitch key
Eb instruments: notated key is a minor third below concert-pitch key
F instruments: notated key is a perfect 5th above concert-pitch
A instruments: notated key is a minor third above concert-pitch key

25. Transposing by Interval
Use intervals to find the key and rewrite each individual pitch. This is the most common method.
Steps for success:
Use the notated pitch and determine which direction to transpose
If you start in concert-pitch key you must transpose to instrument key and visa versa
Once you determine the key, you can do the intervals between each pitch the same way
Have vs. Need
Determine what instrument (or pitch) you have
Determine what instrument (or pitch) you need
Transpose by interval
What concert key is this in?
G Major
What key are the Bb instruments in?
A Major
What key is the Eb Instruments in?
E Major
What key would an F instrument be in?
D Major

26. Lets Try Transposing by Interval
Lets transpose the example below and use 1 flute, 1 clarinet, 1 alto saxophone, and bassoon.
What do we need? VERSUS What do we have?
What direction? AND What distance?
Sample Score:
Example:
Answer:

27. Lets Transpose Using Solfege
Lets transpose the example to the bottom and use 2 trumpets, 1 French horn, and 1 trombone.
Steps:
1. Find the key for each instrument.
2. Use solfege to transpose each pitch.
Example:
Practice:
What key would each instrument be in to
keep the same concert key?
Answer:

28. Summary on page 192
Bb instruments: notated key is a whole step above concert-pitch key
Eb instruments: notated key is a minor third below concert-pitch key
F instruments: notated key is a perfect 5th above concert-pitch
A instruments: notated key is a minor third above concert-pitch key

29. Octaves
Another thing to consider is the octave in which you should write. For example, let use the saxophone section.
Soprano Saxophone: In Bb. Sounds a Major 2nd LOWER than the written pitch.
Alto Saxophone: In Eb. Sounds a Major 6th LOWER than the written pitch.
Tenor Saxophone: In Bb. Sounds an octave + a Major 2nd (Major 9th) LOWER than the written pitch.
Baritone Saxophone: In Eb. Sounds an octave + a Major 6th (Major 13) LOWER than the written pitch.