first species counterpoint aural training

A leading tone in the soprano should always resolve to tonic. Resolve tendency tones (like the leading tone).Avoid leaps larger than a 3rd, but if a larger leap is used, it should be filled in by step in the opposite direction. Think horizontally at all times to create smooth lines in each voice, especially in the soprano.If a diminished chord must be used in root position, always double the 3rd of the chord to minimize the chances of part writing errors. It is best to avoid root position diminished chords when possible because their interval structure often creates part writing errors like parallel and unequal 5ths with surrounding chords. Diminished chords are most often used in first inversion with the 3rd of the chord doubled.See more about the V-vi progression below).

Double the root (bass) of the chord in root position major and minor chords (except when going V-vi, in which case the 3rd of the vi chord is most often doubled.Do not double tendency tones and more active scale degrees (like the leading tone or chordal seventh).Chords with tripled roots appear at cadences, not within the phrase. Most often, the 5th is omitted and the root is doubled or tripled. An incomplete chord is missing a chord member.Complete chords are preferred to incomplete chords. A complete chord has all chord members present.If there are no common tones, try to move the upper voices in contrary motion to the bass voice.Consider the following things when part writing: Following these guidelines helps to ensure that part writing errors are avoided before they are written. When part writing chords, we combined all of the knowledge we have learned about good horizontal and vertical connections between voices in order to create a set of guidelines for good part writing practices. 10.2 Part Writing, Root Position Triads and Suspensions: Tutorial Part Writing with Root Position Chords Part Writing Guidelines

First species counterpoint aural training