Polyphony? More than one line that work together but are independent
Homophony? More than one line working together and depend on each other
Steps in part writing
-establish a key
-find a cadence
-figure out what notes are possible for every chord
-Create a bass line (try not to start here)
-Fill in inner voices
-“Boring” melodies can be filled out with non-chord tone embellishments.
Attempts at part writing:
-vi6/4, doesn’t work as well because it either won’t establish a key, or establishes a key that you did not intend to
-I, IV, V, I, Perfect authentic cadence. Problems with restriction in the IV chord because the third is in the melody and cannot be placed anywhere else.
-I, ii, V, I, Perfect authentic cadence. Lower octave of G in the bass voice on the V chord can be problematic to sing. Be careful when writing harmonies so that the notes are close together in the bottom and open at the top. It can be muddy and hard to hear. Unison notes are fine as long as they are not in unison before or after. This helps the voices stay independent.
-I, ii6/3, V, I, Perfect authentic cadence. Creates opportunity because the melody is the fifth of the ii chord and allows for the third to be somewhere else.
-I, ii, V6/4, I, Imperfect authentic cadence. Problems with unstable harmony due to the perfect fourth in a 6/4 chord. There are many restrictions surrounding 6/4 chords. For now let’s not use these.
-I, ii, V6/3, I, Imperfect authentic cadence. Problems with parallel motion and doubling of the third when moving V6/3 to I.
-A deceptive cadence could have happened, I, ii, V, vi
Parallel Perfect octaves- When the same two voices that form an octave move in the same direction to the same interval