2. Vocabulary

4. SATB Style
Notation
Range
Spacing
Voice Crossing
Doubling

5. Notation Soprano and Alto on treble staff Soprano-stems up
Alto-stems down
Bass and Tenor on bass staff
Tenor-stems up
Bass-stems down

6. Range
Spacing
No more than an octave between the soprano and alto or between alto and tenor. More than an octave between tenor and bass is ok, but usually stays within a 12th

7. Voice Crossing Doubling
Any particular voice cannot sing higher than the voice above it or lower than the voice below it.
This helps maintain the independence of each musical line
Doubling

9. Doubling in My Country Tis of Thee

11. Parts of a Basic Phrase
Phrase: basic unit of musical thought, similar to a sentence in language; phrases are marked by ending with a cadence
Cadence: harmonic, melodic, and rhythmic features that make a phrase sound like a complete thought
Phrases can end conclusively (like a period in a sentence) or inconclusively (like a comma or semicolon in a sentence

13. The Basic Phrase and Harmonic Function
Conclusive phrases include at least three tonal areas. These areas form the harmonic structure of the basic phrase:
opening tonic area, dominant area, closing tonic area
Conclusive phrases will end with an authentic cadence
Inconclusive phrases start with an opening tonic area and usually cadence on the dominant
inconclusive phrase end with a half cadence
Tonic at the beginning of a phrase establishes a tonal center (“home base”)

14. Establishing the Tonic Area
The tonic area in the Beethoven is expanded through repetitious arpeggiation
The tonic area in the Bach is expanded through inverting the tonic triad under the melody

15. The tonic is actually made stronger by the use of the V on the anacrusis
Bach also uses i-V-i motion, but the V is very weak (because of the inversion) and so serves to expand the tonic area

16. Cadential Area Cadence Types:
Cadential area: area that marks the end of the phrase.
Cadence: the ending of a phrase
Cadence Types:
Authentic Cadence: V-I
Perfect Authentic Cadence (PAC): V-I; root position V and root position I AND soprano is on scale degree 1
Imperfect Authentic Cadence (IAC): V-I; V or I (or both)

17. Imperfect Authentic Cadence

18. Half Cadence (HC): ends on V
Authentic cadences are defined by two chords (V-I) but half cadences are identified only by their final chord; the chord that precedes the V could be one of several. Half cadences typically end on a root-position dominant, and often (though not always) feature scale degree 2 in the soprano

20. Resolving from V(7) to I or i
Check the inversion!
Resolve the leading tone up (only exception is if it is in the tenor or alto)
Resolve the 7th (if present) down
No parallel fifths or octaves
No contrary fifths or octaves
Repetition of fifths or octaves is ok