14. Three- and Four-Voice Progressions

Identifying Tendency Tones

Each of the melodies below contains multiple tendency tones (scale degress [latex]\hat2[/latex], [latex]\hat4[/latex], [latex]\hat6[/latex], and [latex]\hat7[/latex]). First, identify the major scale used by each melody and write its name on the line provided. (Hint: Consider the possibilities suggested by the key signature and listen to the recording.) Then, locate each of the tendency tones in the melody and consider their effect on the melody. Do they resolve as expected? If the tendency tone moves by step to the expected resolution tone, draw an arrow between the two noteheads. Draw a circle around any tendency tone that does not resolve as expected.

: José Maurício Nunes Garcia, “Ave Maria,” mm. 7-10

Major scale used:
Eb major

Harry Thacker Burleigh, “Balm in Gilead,” mm. 5-13

Major scale used:

G major

Alberto Nepomuceno, “Un soneto del Dante,” mm. 3-10

Major scale used:

F major

Carlos Gomes, “Analia ingrata,” mm. 17-31

Major scale used:

Eb major

Gussie Davis, “The Dear Old Folks at Home,” mm. 9-16

Major scale used:

Ab major

Analyzing Three-Voice Progressions

Each of the excerpts below features three voices. The original three-voice texture is shown at the top and exercises B, C, and D each isolate a different pair of voices from the original. Analyze the interval progressions between each pair of voices in B, C, and D by writing the size of each interval on the blank lines between the two staves. When you finish, go back and draw a box around any resultant dissonances.

Maddalena Casulana, Madrigali a 4 voci, Book 2, 19. “Il vostro dipartir,” mm. 22-24

Isabella Leonarda, Salmi Concertati a 4 voci con Strumenti (Op. 19), mm. 132-135

Completing Three-Voice Progressions

Each of the exercises below shows a three-voice interval progression with the middle voice missing. Roman numerals are given below each exercise to indicate the pitches in each chord. Complete each progression by writing in the middle voice. Make sure the added notes belong to the specified chords and form a valid interval progression with at least one of the given voices. Take care to avoid forming parallel fifths or octaves between any pair of voices. Avoid writing notes below the lower voice or above the upper voice. Write the size of each interval on the lines provided between the staves. (Note: There may be more than one correct answer for each exercise.)

Adding a Third Voice

Each of the exercises below shows a Roman numeral chord progression with two melodic lines. Add a third line between the given voices. Make sure the added notes belong to the specified chords and form valid interval progressions with at least one of the given voices. Take care to avoid forming parallel fifths or octaves between any pair of voices. Avoid writing notes below the lower voice or above the upper voice. Write the size of each interval on the lines provided between the staves. (Note: There may be more than one correct answer for each exercise.)

Analyzing Four-Voice Progressions

Each of the excerpts below shows a four part progression written in SATB format. Analyze each chord in each excerpt: 1) write a Roman numeral for the chord in the indicated key; 2) identify which chord member is doubled; 3) identify any fifths found between pairs of voices; 4) identify any octaves found between pairs of voices. In the first excerpt below, the starting chord is I in C major. The root of the chord (C) is doubled in the tenor and bass. There is a perfect fifth between the bass and soprano and another between the tenor and soprano as well as a perfect octave between the tenor and bass.

The Chorale Book for England, 86. “Come, Holy Ghost, Creator, come,” mm. 1-3

The Chorale Book for England, 86. “Come, Holy Ghost, Creator, come,” mm. 4-5

The Chorale Book for England, 3. “Lo, heaven and earth, and sea and air,” mm. 1-2

The Chorale Book for England, 3. “Lo, heaven and earth, and sea and air,” mm. 3-4

The Chorale Book for England, 1. “All glory be to God on High,” mm. 1-4

The Chorale Book for England, 1. “All glory be to God on High,” mm. 5-8

Parallel Fifths and Octaves

Each of the excerpts below has been altered to include voice-leading errors and problematic interval progressions. Find and mark every instance of parallel fifths or parallel octaves by connecting the offending notes in each voice and labeling the progression above the upper staff. In the first exercise below, for example, there are parallel fifths between the alto and tenor on beats two and three of the first full measure.

The Chorale Book for England, 86. “Come, Holy Ghost, Creator, come,” mm. 1-3 [altered]

The Chorale Book for England, 86. “Come, Holy Ghost, Creator, come,” mm. 4-5 [altered]

The Chorale Book for England, 3. “Lo, heaven and earth, and sea and air,” mm. 1-2 [altered]

Completing Four-Voice Progressions

In each of the exercises below, a four-voice chord is given in SATB format along with the bass note of the following chord. Complete each progression by adding notes to the soprano, alto, and tenor lines. Make sure each added note belongs to the chords indicated by the Roman numerals beneath and that it forms a valid interval progression with at least one of the othe voices. Take care to avoid forming parallel fifths or octaves between any pair of voices. Avoid writing notes that go higher than any voice part above or lower than any voice part below. (Note: There may be more than one correct answer for each exercise.)

SATB Part-Writing

Complete each of the exercises below, following standard voice-leading conventions as closely as possible. For more detailed instructions, strategies, and proofreading tips, consult the part-writing guide found at the beginning of this book.

Roman Numeral Realization

Complete the progression according to the given key and Roman numerals by filling in all four voices. The first chord of each progression has been provided for you.

Melody Harmonization

Write the scale degree numbers of each note in the soprano melody on the lines above the staff. Then, select a suitable chord progression which incorporates the harmonies covered in this chapter to harmonize the melody and write the appropriate Roman numerals on the lines below the staff. Finally, complete the progression by filling in the remaining voices.