Apontamentos de 2º Ano

INDICE

SÉRIE DE HARMÓNICOS ..........................................................................................................................................4

CICLO DAS QUINTAS ................................................................................................................................................4

GRAUS DE ESCALA ....................................................................................................................................................5

NUMERAÇÃO ROMANA ..........................................................................................................................................6

Numeração romana e qualidade do acorde................................................................................................................................... 6

Numeração romana nas tríades da escala Maior .......................................................................................................................... 6

Numeração romana nos acordes de sétima da escala Maior ...................................................................................................... 6

Numeração romana nas tríades da escala menor ......................................................................................................................... 6

Numeração romana nos acordes de sétima da escala menor ..................................................................................................... 7

Variações na escala menor ............................................................................................................................................................... 7

CIFRAS ............................................................................................................................................................................8

Acordes de 3 sons .............................................................................................................................................................................. 8

Acordes de 4 sons .............................................................................................................................................................................. 8

Diferentes acordes de 4 sons ............................................................................................................................................................ 9

FUNÇÕES HARMÓNICAS .......................................................................................................................................10

FIGURAÇÃO ................................................................................................................................................................11

Notas de acorde ............................................................................................................................................................................... 11

1. Figuração Harmónica ....................................................................................................................................................... 11
2. Figuração Rítmica.............................................................................................................................................................. 11

Notas estranhas ao acorde (Figuração melódica) ....................................................................................................................... 11

1. Retardo................................................................................................................................................................................ 11
2. Antecipação ........................................................................................................................................................................ 11
3. Nota de passagem ............................................................................................................................................................. 12
4. Ornato ................................................................................................................................................................................. 12
5. Apogiatura ......................................................................................................................................................................... 12
6. Escapada ............................................................................................................................................................................. 12

CADÊNCIAS ................................................................................................................................................................13

Cadências conclusivas e cadências não conclusivas................................................................................................................... 13

Perfeita ou Autêntica Perfeita ........................................................................................................................................................ 13

Imperfeita ou Autêntica Imperfeita .............................................................................................................................................. 13

Suspensiva ........................................................................................................................................................................................ 13

1
Interrompida .................................................................................................................................................................................... 14

Frígia .................................................................................................................................................................................................. 14

Plagal ................................................................................................................................................................................................. 14

CONCLUSIVAS (AUTÊNTICA E PLAGAL) .........................................................................................................14

NÃO CONCLUSIVAS (SUSPENSIVA E INTERROMPIDA) ............................................................................14

Cadências e o ritmo harmónico ..................................................................................................................................................... 14

MOVIMENTOS AUTÊNTICOS E PLAGAIS ........................................................................................................15

Movimentos Autênticos.................................................................................................................................................................. 15

Movimentos Plagais ........................................................................................................................................................................ 15

ESCRITA A 4 PARTES ...............................................................................................................................................16

Registo das vozes ............................................................................................................................................................................. 16

Dobragem das notas ........................................................................................................................................................................ 16

Espaçamento entre as vozes ........................................................................................................................................................... 16

Escrita em estilo pianístico ............................................................................................................................................................. 17

Posição fechada e posição aberta................................................................................................................................................... 17

MOVIMENTO DAS VOZES .....................................................................................................................................17

Movimentos paralelos ..................................................................................................................................................................... 17

Movimento direto ............................................................................................................................................................................ 18

Cruzamento de vozes...................................................................................................................................................................... 18

Sobreposição de vozes .................................................................................................................................................................... 18

OUTRAS REGRAS DE CONDUÇÃO MELÓDICA.............................................................................................19

PÊNDULO DE QUINTA SUPERIOR ......................................................................................................................20

I – V – I............................................................................................................................................................................................... 20

I6 E V6 ..............................................................................................................................................................................21

V7 .....................................................................................................................................................................................21

OUTRAS INVERSÕES DO V7 ..................................................................................................................................22

PÊNDULO DE QUINTA INFERIOR (I – IV – I) ...................................................................................................23

PÊNDULO DE SEGUNDA INFERIOR (I – VII – I) ..............................................................................................23

2
ENCADEAMENTOS EM DIREÇÃO AO V ...........................................................................................................25

ii, ii6 e IV ............................................................................................................................................................................................ 25

ENCADEAMENTOS EM DIREÇÃO AO V7 ..........................................................................................................25

CADENCIAL 64 (OU SEGUNDA INVERSÃO CADENCIAL) ...........................................................................26

Dobragem das vozes no cadencial ................................................................................................................................................ 27

Posição rítmica do cadencial .......................................................................................................................................................... 27

OUTROS TIPOS DE ACORDES NA 2ª INVERSÃO...........................................................................................28

Acorde 64 de passagem ................................................................................................................................................................... 28

Acorde 64 por nota pedal................................................................................................................................................................. 28

MODELOS HARMÓNICOS PRATICADOS POR J. S. BACH .........................................................................29

BAIXO CONTÍNUO....................................................................................................................................................32

Cifras ................................................................................................................................................................................................. 32

Alterações às Cifras ......................................................................................................................................................................... 32

Abreviação das Cifras ..................................................................................................................................................................... 32

3
Série de harmónicos
a partir de Dó1

Ciclo das quintas

4
 tonic as its goal (Example 1-4).

1
1-4escala
Graus de scale
(emdegrees
dó maior):in C

1 – tónica
2 – sobretónica
3 – mediante
The capped numbers above the notes in Example 1-4 indicate scale
4 – subdominante
(sometimes called scale steps) and will be used for this purpose througho
5 – dominante
book. In(submediante)
6 – sobredominante addition to numbers, the following traditional names are used so
7 – sensível
for the scale degrees that you should memorize them:
1̂ Tonic
2̂ Supertonic
3̂ Mediant
4̂ Subdominant
5̂ Dominant
Tríades diatónicas em tonalidade Maior
6̂ Submediant
Maior I, IV e V
menor ii, iii e vi
7̂ Leading tone
diminuto viio
Aumentado nenhum
4. The Octave. The beginning and ending tones of Example 1-4 are both
they are not one and the same tone. The last tone sounds considerably “h
in pitch than the first. Yet, despite this marked difference in register, the s
of the two C’s are very similar; that’s why we call them both by the same
name. When two tones are separated by an octave (Latin octava, eighth) th
equivalents—that is, they are variants of the same sound. This phenomen
octave equivalence is one of the most important aspects of pitch organizat
music. In technicalTríades diatónica
writing em tonalidade
about music,menor
it is frequently helpful to indica
Maior III, IV, V e VI
register in which a tone occurs. Example 1-5
menor i, ii,shows
iv e v how this can be done.
diminuto iio, vio e viio
Aumentado III+

1
Throughout the examples, the exercises,
5 and the workbook, capital letters are used for ma
and lowercase letters are used for minor keys. Thus, G and g indicate the keys of G major and G
Numeração romana
No sistema de numeração romana, I ou i significa primeiro grau, II ou ii segundo grau, etc…

Numeração romana e qualidade do acorde

A análise harmónica usa numeração romana para indicar os acordes de determinada música. Ou seja, o
número romano indica o grau de escala onde a fundamental de determinado acorde se encontra. O formato
do número romano indica a qualidade do acorde:

Numeração romana nas tríades da escala Maior

Nas escalas maiores, I, IV e V são acordes maiores; ii, iii e vi são acordes menores. O acorde que se forma
sobre a sensível (vii) é diminuto:

Numeração romana nos acordes de sétima da escala Maior

Nas escalas maiores, I e IV são acordes de sétima Maior; ii, iii e vi são acordes de sétima menor; V é um
acorde de sétima dominante; vii é um acorde de sétima meio-diminuto:

Numeração romana nas tríades da escala menor

Nas escalas menores, i e iv são acordes menores; III, V e VI são geralmente Maiores; ii e vii são geralmente
diminutos. Nas tonalidades menores os compositores escrevem quase sempre o sétimo grau subido meio-
tom. Se, em termos melódicos, o sexto grau estiver antes do sétimo, também ele será subido:

6
 Not every chromatic tone produces a chromatic half step. The C ’s in bar 9 of
Example 1-1 do not. They intensify the motion to D through the half-step progres-
sion, but they lie a whole step above the preceding tone, B.

14. Enharmonics. On the piano, we depress the same key to produce C and D , A
and B , and so
Numeração on. To facilitate
romana playing de
nos acordes in all keys and
sétima datoescala
make possible
menoran exten-
sive use of chromaticism, keyboard instruments are tuned to the equally tempered
Seguindo a lógica da descrição anterior, iv grau forma um acorde de sétima menor;
scale, a scale that divides the octave into twelve equal semitones. Tempered tuning
III e VI acordes de
sétima Maior; V acorde
eliminates the minute de sétima
differences dominante;
in pitch between, say,vii
G acorde
and A ordeBsétima
and C .diminuta:
Two tones with different names but the same pitch (or, in nontempered tuning,
almost the same pitch) are called enharmonic equivalents.

ys; Modes; Tonality

15. Minor Keys. Example 1-16 is the beginning of a variation movement by Handel.
The key signature contains two flats, but this composition is clearly not in B
major. The lowest part begins and ends on G; the highest begins on D and ends
Variações na escala
on G; the opening menor
chord contains the tones G, B , and D. All of this points to G
Como na escala
as the tonic and tomenor
G-B -D oas 6º
theetonic
o 7º triad.
grausAnd,
de escala podem
in fact, the piece ser
is insubidos
the key podemos ter outras variações de
of G, but G minor,
determinados not G major.
graus.
Why this piece is in minor becomes very clear if we compare its tonic triad
with the tonic triad of G major (Example 1-17).
1̂ and 5̂ are the same in both chords; only 3̂ varies (the B is closer to G than
is the B ); the 3rd G-B , therefore, is smaller than the 3rd G-B . Minor and major
simply mean smaller and larger. A minor key is a key containing a small or minor
3rd between 1̂ and 3̂; a major key is a key containing a large or major 3rd between
1̂ and 3̂. There are other significant differences between major and minor, but the
contrast in sound between the two kinds of 3rds marks the fundamental distinc-
tion between them.
Exemplo com escala natural, harmónica e melódica:
1-16 Handel, Passacaglia (from Harpsichord Suite No. 7)

ht 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

d 14 2/4/10 12:17:50 PM

7
Cifras

Acordes de 3 sons

Acordes de 4 sons

Nota:
a) Todas as alterações a estes acordes, sempre vistos no contexto tonal subjacente, deverão ser colocadas
após a cifra respetiva;
b) Convencionou-se que, quando uma alteração surgir sem qualquer referência a um intervalo, esta
referir-se-á sempre à 3ª;
c) A indicação do sinal + associado a um intervalo indicará que a nota daí resultante, para além de ser
alterada ascendentemente, será sensível da tonalidade envolvente;
d) Completar-se-ão as cifras sempre que seja necessário alterar-se as notas não contempladas pelas cifras
mínimas;
e) As alterações que surgem junto às cifras, poderão surgir tanto à direita destas, como, nalguns casos,
à esquerda.

Exemplos:

8
Diferentes acordes de 4 sons

a) b) c) d) e)

a) Acorde de Sétima Maior (Dó ∆ ou 7M)

3ª Maior; 3ª menor; 3ª Maior – Acorde Maior com sétima Maior
b) Acorde de Sétima menor (7m)
3ª menor; 3ª Maior; 3ª menor – Acorde menor com sétima menor
c) Acorde de Sétima Dominante (7 ou 7Dom)
3ª Maior; 3ª menor; 3ª menor – Acorde Maior com sétima menor
d) Acorde de Sétima Sensível, ou Meio Diminuto (7ø)
3ª menor; 3ª menor; 3ª Maior – Acorde diminuto com sétima menor
e) Acorde de Sétima Diminuta (7o)
3ª menor; 3ª menor; 3ª menor – acorde diminuto com sétima diminuta

Outros exemplos - exercícios

tonalidade Maior tonalidade menor

Sétima Maior IV III, VI
Sétima menor ii, iii, vi ii, iv, v
Sétima Dominante V V
Sétima meio-diminuta viiº ii ø, vi ø
Sétima diminuta --- viiº

9
 Funções harmónicas

Tónica (I – vi – iii)

A função tónica é o acorde principal de uma obra musical que garante o repouso, estabilidade e conclusão
em determinado contexto. Normalmente a música começa e termina na tónica passando por outras funções
harmónicas menos estáveis.

Dominante (V - vii)

A função dominante, por outro lado, cria tensão, instabilidade e movimento musical. Sentimos a
necessidade de mover/resolver um acorde com esta função para outro que garanta estabilidade
(normalmente tónica). Por essa razão, uma cadência suspensiva soa a algo que não terminou. A tensão,
instabilidade e movimento são criados pelo facto de os acordes que têm esta função conterem o grau
dominante (quinta perfeita descendente para a tónica), a sensível (meio-tom ascendente para a tónica) e o
quarto grau da escala (meio-tom descente para a 3ª do acorde de tónica).

Subdominante (IV - ii)

Faz a ligação entre a tónica e a dominante, criando maior variedade e interesse musical. Entre a função
tónica e dominante, a função subdominante é opcional (p.e. I-V-I), no entanto, está função ajuda a preparar
a tensão e instabilidade que os acordes de função dominante contêm.

Funções secundárias (V/V – vii/V)

Acordes com função dominante que resultam da alteração cromática momentânea de determinada nota da
escala principal (tonicização).

Progressão comum dentro de uma frase melódica: tónica – subdominante – dominante – tónica
12

19. Alles ist an Gottes Segen (B. A. 39. N'.' tt) Nach J.B. Kiinigs Chorr.!b. 113H, umgebildet
1 1 1 1 1 r:-.. r:-..

ALles an GoLtes Se_gen 1 und an sei_ ner

J11_L11 ..J. J

Sol M: I - V6 I9-8 ii2 V I r:-.. -- r:-..

1
10 Hoff .. nung setzet,
J. .J .J .
Figuração

Notas de acorde

1. Figuração Harmónica
Sucessão de notas de acorde na mesma voz, mantendo-se a harmonia

2. Figuração Rítmica
Repetição de nota(s) na(s) mesma(s) voz(es), mandendo-se a harmonia.

Notas estranhas ao acorde (Figuração melódica)

1. Retardo
Um Retardo é uma nota estranha ao acorde que, pertencendo à harmonia anterior, permanece na
mesma voz – onde se verifica, de facto, o retardo – e resolve geralmente descendo por grau conjunto,
devendo, essa resolução, aparecer numa parte mais fraca do que o retardo propriamente dito

2. Antecipação
A Antecipação é uma nota estranha ao acorde que procede por grau conjunto e que será na mesma
voz, na harmonia seguinte, nota de acorde.
A Antecipação encontra-se sempre numa parte fraca.

11
3. Nota de passagem
A Nota de Passagem é uma dissonância que está no meio de um movimento por graus conjuntos no
mesmo sentido.

4. Ornato
O Ornato é uma nota estranha ao acorde que procede por grau conjunto de uma nota de acorde e a
ela retorna.

Ornato Superior Ornato Inferior

5. Apogiatura
A Apogiatura é uma nota não preparada e estranha ao acorde que resolve para a nota do acorde, em
regra, por grau conjunto. Existem duas formas de apogiatura:

a) Apogiatura por salto b) Apogiatura por grau conjunto

(nota de passagem acentuada)

6. Escapada
A Escapada é uma nota estranha ao acorde, que procedendo por grau conjunto, se movimenta, por
salto, em regra, para a harmonia seguinte

12
Cadências
Cadências conclusivas e cadências não conclusivas.
Perfeita ou Autêntica Perfeita
Consiste no encadeamento harmónico de V – I (ou V7 – I), com os dois acordes no estado fundamental e a
tónica na melodia sobre o I grau:
Bach, Cravo Bem Temperado, Livro II, Prelúdio X

Imperfeita ou Autêntica Imperfeita

Semelhante à cadência perfeita, no entanto:
- no acorde de I grau pode aparecer uma nota na melodia que não a tónica (terceira ou quinta);
Bach, Cravo Bem Temperado, Livro II, Prelúdio XII

- um dos acordes surge numa inversão:

Schumann, Nachtlied, Op. 96, Nº1

- o V grau é substituído pelo viio grau:

Bach, Befiehl du deine Wege

Suspensiva
A frase termina de forma suspensiva sobre o V grau.

13
 Interrompida
Após o V grau surge um outro acorde que não o I grau:
ces and Harmonic
Haydn,Rhythm
Sonata Nº 4, 2º andamento 149

ample 10-8 Dykes, “Holy, Holy, Holy!”

Frígia
Tipo específico de cadência suspensiva onde assistimos a um movimento harmónico entre iv6 – V no modo
menor
Schumann, “Folk Song”, Op. 68, Nº 9

eceding definitions of cadence types are standard, for the most part, and they will
to most cadences found in tonal music. Exceptions will be found, however, in which
he more general
Plagaldefinitions listed in the following table should be applied.
Envolve o encadeamento IV – I. Normalmente surgem como um complemento a uma cadência perfeita
adence type First chord
Dykes, Holy, Holy, Holy! Second chord
uthentic Contains leading tone Tonic
agal Does not contain leading tone Tonic
eceptive Contains leading tone Not tonic
alf Does not contain leading tone Not tonic

more general but useful method of classifying cadences puts them into two groups:
usive (authentic and plagal) and progressive (deceptive and half).

armonic Rhythm
As cadências também podem ser divididas em dois grupos:
Conclusivas (autêntica e plagal)
ery general rule, the last chord of a cadence usually falls on a stronger beat than the
Nãoit.conclusivas
that precedes (suspensiva
This assumes that e interrompida)
the rate at which the chords change—the harmonic
m—is faster than one chord per measure. The following rhythmic examples illustrate
Cadências
ing authentic cadences;epossible
o ritmo harmónico
cadential I 64 chords are shown in parentheses.
Regra geral, o último acorde de uma cadência acontece num tempo mais forte que o acorde que o precede:

c C C C C A
ÁI6Ë V I

BO
4

3 B C
4Á Ë
I64 V I

43 C C C BO
ÁI6Ë V I
4

5/16/12 6:40 AM

14
Movimentos Autênticos e Plagais

Movimentos Autênticos

- 3ª descendente / 6ª ascendente
- 5ª descendente / 4ª ascendente
- 7ª descendente / 2ª ascendente

Movimentos Plagais

- 3ª ascendente / 6ª descendente
- 5ª ascendente / 4ª descendente
- 7ª ascendente / 2ª descendente

15
 Example
never omitted 6-2;for
except thespecial
smaller noteheads
effects. represent
Triads in inversionallowable extensions.
are usually complete. The greater
part of
Root-position each line
seventh willfrequently
chords normally lie
omitwithin the middle
the chordal of the
5th and rangethe
double rather than at
root. Inversions of seventh
the extremes. chords are usually complete, with exceptions occur-
ring even less often than with inversions of triads.
Escrita a 4 partes
6-2 vocal ranges
6-5 Bach, Chorale 250
Registo das vozes
“Rules” for doubling are formulated on t
In practice, however, doublings are very mu
move. Therefore, most of the rules of doublin
to the norm, however, should occur for a reas
er voice leading—and not arbitrarily. One ru
solute: the leading tone, because of its active
doubled when it is part 95
Chord Construction
of V or VII or their inv
chord of Chorale 293 in the way shown in Ex

6-3 Bach,das
Dobragem Chorale
notas 293
3. Doubling. In Example 6-1, all but one of the chords—the V7 just before the
6-4
fermata—are triads. Because a triad consists of only three tones, one of its tones
5. Spacing. must appear
Except twice—that
for special effects,is,the
it must
voicesbeofdoubled.
a multivoicedExample 6-3should
texture indicates the dou-
blend. Tooblings
greatthat occur in
a distance the first
between the phrase
sopranoof andChorale
alto or 293.
the altoNote
andthat doublings can
tenor,
especiallyoccur at the unison
if continued beyondasonewellorastwo
at the octave
chords, mayorcreate
multiple octave.
an impression of
thinness. Normally, adjacent upper voices should not be more than an octave
apart, as in both the Bach excerpts (Examples 6-1 and 6-5). However, it is per-
fectly acceptable for the tenor to be separated from the bass by as much as two
octaves. The resulting high tenor register gives a particularly intense choral
sound. On the other hand, to have the alto and tenor in a low register and sepa-
- As ligaduras demonstram as notas dobradas;
-rated
Não éfrom the soprano
permitido often produces
dobrar a sensível muddiness.
(sétimo grau de escala)Play
num the “rewritten” versions
acorde; Withvertical
root-position chords, the tendency
- Primeiro dobramos a tónica, em segundo lugar a 5ª e por último aof3ª.ideal
of “Rules”
Chorale 293for doubling
(Example are
6-6) formulated
and compare on the
their basis
effect of an
with each
the
other andsonority.
triad; thus,
with
with major and minor tria
In practice,
the original. however, doublings are very much influenced by the way the voices
move. Therefore, most of the rules of doubling can be applied as in flexibly;
the excerpt from Chorale 293. The ro
exceptions
always doubled. Seventh chords, because they
to the norm, however, should occur in foranaopen
reason—usually to bring
usingabout smooth-
6-6 poorBach himself notated his chorales score of four nostaves, soprano, alto,
aretenor, and bass
*
spacing doublings if they complete chords (Ex
er voiceclefs.
Espaçamento leading—and
entre
If youas vozes
are not with
familiar arbitrarily. One
these clefs, you rule must
will find be regarded
it valuable as virtually
to write some ab-
of your exercises in open
Sometimes the root is doubled and the 5th o
solute: the
(a) score.leading tone, because of its (b)active tendency toward 1̂, should never be
sonance, so it must never be doubled.
doubled when it is part of V or VII or their inversions. Thus, to construct the third
chord of Chorale 293 in the way shown in Example 6-44.would Completebe wrong.
and Incomplete Chords. The best
as in our opening example, all the tones of a
6-4 5th of a major or minor root-position triad, h
fusing the identity of the chord. Because of t
yright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated,
the ear assumes ain5th
whole or inthe
above part.bass unless
that contradicts the 5th. Most often when th
2.indd 94 and the chordal 3rd not doubled, as 2/11/10
in Exam
(a) voz do soprano está muito afastado das restantes vozes; voz do alto fora do registo
(b) voz do alto muito afastado do tenor

Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, sca

With root-position chords, the tendency is to double the more stable parts
89756_06_Ch06_093-112.indd 95

of the triad; thus, with major and minor triads, the root is most often doubled,
asLearning.
11 Cengage in the excerpt
All Rights from Chorale
Reserved. May not293. The scanned,
be copied, root ofora duplicated,
final tonic chord
in whole is part.
or in virtually
always doubled. Seventh chords, because they already contain four tones, contain
no doublings if they are complete chords (Example 6-3, V7 just before fermata). 2/11/10 3:13:40 PM
Sometimes the root is doubled and the 5th omitted. The chordal 7th forms a dis-
16
sonance, so it must never be doubled.
Unit 6 Procedures of Four-Part Writing
6. Open Position and Close Position. Strict observance of the rule of spacing
Counterpoint in Choras
leaves room for considerable variety in the construction of a chord. Of the ma
6-8 keyboard style
Escrita em estilo pianístico“correct” possibilities, two general types are commonly distinguished: open p
(a) tion and close position (Example very 6-7). Close
(b) strong position
stability occurs when
and resistance to the three mo
forward upp
voices are as close together as possible—no additional chord
fifteenth through the nineteenth centuries have extone can be inser
between adjacent voices. In well open position,and
as unisons theoctaves,
upper voices
fromare theirseparated
writingsso(Et
a chord tone could be inserted between either alto and soprano, or tenor a
alto, or both pairs of voices, as in Example 6-7b. Open position tends to giv
full but clear and well-balanced 6-23 unisons
sound. Both open and close position can be u
within a single phrase, as in Example 6-1, where the first two chords are in cl
position and the rest are in open position. Changing from close to open positi
or the reverse, is often necessary for good voice leading; the change can also g
A escrita em estilo pianístico a welcome
(três notasvariety
na mãoofdireita
sound. e uma nota no baixo) é preferível para a escrita a 4
partes.8. Position of the Soprano. Although not as crucial as the bass tone, which deter-
mines whether a chord is in root position or inversion (Unit 4, Section 6), the
Posição fechada e posição6-7 aberta chorale style
soprano tone also exerts a strong influence on the sound of a chord. The reason
is that the soprano (a) close positionthe most prominent
is usually (b) open position of the four voices. The effect
that the soprano tone creates depends on several factors in combination: the
interval from the bass, the stability or activity of the scale degree, and the context
in which it appears. For instance, 1̂ over tonic harmony tends to give a stable—
6-24 octaves
indeed, sometimes a static—impression;
Counterpoint in itChorale
formsTextures:
an octaveVoicewith the bass and
Leading 107is
the least active degree of the scale. Thus, this position of the soprano will be most
useful at points of articulation. A particularly beautiful sonority often results from
placingstability
very strong the 3rdandof a resistance
triad (especially a major
to forward triad) in theComposers
momentum. soprano. This disposi-
from the
fifteenthtion mirrors
through the overtone series, in which the 3rd (5th partial) appears above the
(a) posição fechada the nineteenth
(as vozes centuries
do soprano, alto e in
Counterpoint have
tenor excluded
estão
Chorale parallel
preenchidas
Textures: Voice entre perfect
Leading 5ths,
elas o máximo as
107 possível)
well
(b) as octave
unisons
posição (2nd
and
aberta and
(as 4th
octaves, partials)
from and
their the 5th
ewritings (3rd partial).
(Example In
6-25).a tradition that dates
7. vozes do soprano,
Keyboard Style.altoAs tenor estão
far back afastadas
as the lateentre elas o que permite
seventeenth colocar
century, notas bass w
a figured
deback to entre
acorde the sixteenth
os espaços) century (Zarlino cites it)*, composers have tended to favor
normally realized at the keyboard with the right hand playing the three upp
this position of the soprano.
very parts and the left hand playing the bassComposers
only. This would mean that the distan
6-23 strong
Movimento unisons stability and resistance to forward momentum.
das vozesbetween soprano and tenor could not exceed an octave, a comfortable stre
from the
fifteenth through
9. Unusual the nineteenth
Spacing. Like most centuries
rules for have excluded
doubling, theparallel
rule ofperfect
spacing5ths, as to a
refers
well as norm
unisons and for most
octaves, from hands. Except
their writings for its
(Example notation, then, keyboard style is similar to cl
and is therefore not absolutely binding. Even 6-25).
in chorale style, Bach’s set-
Paralelo – contrário – oblíquo position.
- direto In this instrumental style, the limitations of vocal range need not
tings clearly show that melodic considerations, motivic development, and, espe-
followed strictly. The tenor, 6-25in parallel
particular,
5ths tends to move higher than would
cially,
6-23 unisons
Movimentos the use of figuration may make a departure
paralelos from the rule logical or even
practical for voices.
necessary.
(a) uníssono In a chorale, exceptional spacing
(proibido) is of brief
(b) quintas duration,
perfeitas (proibido)most often just
Example 6-8 illustrates two conventional notations for keyboard style. In bo
a chord or two, as in the second phrase of Chorale 293 (Example 6-9) where the
notations the bass is alone on the lower staff with the stems pointing up or do
stepwise descent in the alto causes a gap between it and the soprano. In the even
depending on whether the note is above or below the third line. In 6-8a, the th
simpler texture of written exercises, such spacings are best avoided.
right-hand parts are stemmed together. The direction of the stems is determin
by whether the majority of tones are above or below the third line. In 6-8b, all
soprano108tones are stemmed up, and a stem pointing down connects the inn
Unit 6 Procedures of Four-Part Writing
6-24 octaves voices.
6-26 perfect and diminished 5ths
(c) oitavas perfeitas (proibido) (d) quinta perfeita / quita diminuta
(a) (b)
6-24 octaves
Motion from a perfect 5th to a diminished 5t
diminished 5th to a perfect 5th is normally avoid
does not resolve (Example 6-26).
*
Gioseffo Zarlino, The Art of Counterpoint, translated by GuyThe prohibition
A. Marco ofPalisca
and Claude V. parallel
(New unisons,
Haven, 5ths, and
Conn.: Yale University Press, 1968), pp. 196–197. within the same pair of voices. Example 6-27 shows

between bass and alto, the other with an octave b

gressions like this do not contain parallel octaves.
6-27 The exact repetition of a unison, octave, or p
6-25 parallel 5ths 17 tion and is therefore not a case of forbidden paral
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
 Counterpoint in Chorale Textures: Voice Le

6-29 octaves and 5ths by contrary motion

6-27
(e) não é movimento
18. Hidden 5ths and paralelo
Octaves.(oitavas
5thse quintas)
or octaves(f) oitavas e quintas
approached
(a) by perfeitas
(b) similar atingidas
motion
(c) are por
movimento contrário (proibido)
called
(b) hidden (or direct) 5ths or octaves (review Unit 5, Section 3, on the approach
reduction
or octaves
to 5thsapproached by term
and octaves). The similar motion
“hidden” arethe old theoretical idea that hid-
reflects
den 5thsUnit
aves (review or octaves conceal3,actual
5, Section on the parallels that would occur if the intervals were
approach
filled in (Example 6-30).
dden” reflects the old theoretical idea that hid-
parallels that would occur if the intervals were
6-30
Movimento
6-28 direto
(a) hidden octaves (b)18.
hidden
Hidden5ths
and Octaves. 5ths or octaves approached by simi
5ths
(a) (b)
(a) à oitava (proibido) called hidden (or direct) 5ths or octaves (review Unit 5, Section 3, o
to 5ths and octaves). The term “hidden” reflects the old theoretic
den 5ths or octaves conceal actual parallels that would occur if th
11. Voice Crossing. If two voices exchange position—if the alto moves below the
filled in (Example 6-30).
(b) hidden
tenor, 5ths
for instance—the voices are said to cross (Example 6-15). Voice crossing
occurs for a variety of reasons; it is least problematic when it involves only inner
(b) à quinta 6-30
voices, and(proibido)
it is best when of very brief duration. A soprano or bass line can
(a) hidden octaves
become obscured if crossed by an inner voice; you should therefore avoid such (b) hidden 5ths
Hidden 5ths and octaves are far less drastic in their effect than parallels are,
crossings.
and theorists disagree about their effect in four-part writing. In this respect, keep
the
17.6-15
following
voice
5ths and
in
crossing
Octaves
mind:
by Contrary Motion. Consecutive 5ths and octaves by contrary
Cruzamento de vozes
1.motion
(a) The
two
(Example
fewer
perfect
6-29) are (b)
the
intervals in the
best avoided in most(c)
voices,
same
the
pair
stronger
of voices
cases because the succession of
and
tends
more problematic
to causeinunwanted
the effect. (Thus,
Não é permitido o cruzamento entre vozes Counterpoint Chorale accents.
Textures: Voice Leading
Hidden 5ths and octaves 103 effect tha
are far less drastic in their
hidden
(The 5ths and
same applies octaves
to motion are forbidden
between a unison and entirely
an octave.) inIntwo-part
composi- writing.)
ar less drastic in their effect than parallels are,
2.tions—usually
The more those with a free texture—octaves in the outer
complex the texture, the milder,
andvoices
and
theorists
maydisagree
occur atabout their effect in four-part writing. In th
therefore less problematic, the
the end of a phrase for purposes of emphasis (6-29a). Fifths in the outer mind:
the following in voices
effect in four-part writing. In this respect, keep
effect.
aare less frequent (6-29b), but sometimes occur between an
melodic stepwise connection can be made
voice, as in 6-29c.
outerfewer
1. The and an
between theinner
voices,
the twothevoices.
stronger Inandthe
moreinter-
problematic the
hidden 5ths and octaves are forbidden entirely in two-part writ
3.estTheof greater the concentration
clarity, overlaps, while not of strictly
dissonance,forbidden,the weaker should the beeffect.
avoided wherever
2. The more complex the texture, the milder, and therefore less p
4.possible
Hiddeninoctavesfour-part tendvocal
nger and more problematic the effect. (Thus, to bestyle.
moreThey obtrusive
occurthan more
effect. hidden 5ths.
appropriately in keyboard style;
5.indeed,
Hiddenthey are unavoidable
octaves
rbidden entirely in two-part writing.) and 5ths are most if thenoticeable
soprano 3. The leaps any
ingreater
outer great
thevoices, distance.
least so
concentration in inner the weaker the e
of dissonance,
voices. 4. Hidden octaves tend to be more obtrusive than hidden 5ths.
the milder, and therefore less problematic, the
6.6-16
Theyvoiceare overlapping
most noticeable where there is no
5. Hidden octaves and 5ths are most noticeable in outer voices, l
common tone between the two
voices.
chords, least
Sobreposição
so where they occur within a6.single They are chord.
most noticeable where there is no common tone b
(a)Learning. All de
2011 Cengage
vozes
(b)not be copied, scanned,
Rights Reserved. May (c)or duplicated, in whole
chords, or inso
least part.
of dissonance, the weaker the effect.
7. Skips
12. Não
Overlapping. in both
é permitida voices
Example emphasize
6-16
a sobreposição illustrates
de hidden 5thsHere
vozes overlapping. and the twowhere
octaves; voicesthey occur within a single chord.
stepwise
do not motion in
7. Skips in both voices emphasize hidden 5ths and octaves; step
108 cross. They maintain their normal
the upper voice minimizes their effect. relative position, but the lower voice moves
2/11/10 3:13:55 PM
e obtrusive than hidden 5ths. the upper voice minimizes their effect.
above the former position of the upper voice, or the upper voice moves below the
8. And most important: Bach, in his chorales, 8. avoids
And mosthidden
important: octaves
Bach, ininhisthe outer
chorales, avoids hidden octa
former position of the lower. Such voice leadings mayvoices be confusing, particularly if moves by step (Example 6-3
ost noticeable in outer voices, least so in inner
voices except where the soprano moves by step (Example 6-31a). Follow this except where the soprano
practice, use your ear in doubtful cases, and otherwise don’t w
practice, use your ear in doubtful cases, and otherwise don’t worry.
re there is no common tone between the two
ur within a single chord.
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e hidden 5ths and octaves; stepwise motion
Copyright 2011 in All Rights Reserved. May not be copied, scanned, or duplicated, in wh
Cengage Learning.

r2 effect. 89756_06_Ch06_093-112.indd 109

2/11/10 3:13:50 PM

Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
his chorales, avoids hidden octaves in the outer
nt
no in Chorale
moves by stepTextures:
(Example Voice Leading
6-31a). Follow this 2/11/10 3:13:57 P

ul cases, and otherwise don’t worry.

Voice leading, unlike chord construction, involves motion—the motion of each
of the four voices considered individually and the sense of progression created
by their combination. In Unit 5, we examined
18 linear principles in strict counter-
point, which is not concerned with harmonic organization; in the remaining sec-
Outras regras de condução melódica

- Como regra geral, movimentar as vozes extremas (soprano e baixo) por movimento contrário. Quando o
movimento contrário não é possível, o soprano deve mover-se por grau conjunto.
- Quando o baixo se move por grau conjunto, todas as outras vozes se devem mover por movimento contrário
(exceto numa cadência interrompida)
- Deve evitar-se usar um âmbito maior que oitava entre as três vozes superiores. Entre tenor e baixo pode
usar-se qualquer intervalo (Hindemith)
- Qualquer intervalo até oitava (exceto quartas aumentadas e sétimas) é permitido melodicamente
- Mover (melodicamente) as vozes o mínimo possível entre harmonias e manter as notas comuns (exceto no
soprano - contorno melódico coerente).
- Todas as frases devem acabar com cadência conclusiva ou suspensiva.
- Cromatismos devem ser usados na mesma voz
- Se a nota que se pretende alterar cromaticamente estiver dobrada na harmonia anterior, a alteração deve
aparecer numa das vozes extremas
- As hastes do soprano e do tenor devem estar direcionadas para cima, acontecendo o contrário para as vozes
do do alto e do baixo
- As regras de condução melódica aplicam-se a movimentos entre harmonias. Desta forma, uma voz pode
saltar livremente enquanto as restantes vozes permanecem estáticas. É apenas quando a harmonia se altera
que as regras (em cima indicadas) se aplicam.

19
 I-V-I in Four Parts 119
7-5 Lower-neighbor figures
lower-neighbor (Example 7-5): These figures occur frequently and pre-
figures
sent no voice-leading problems. The common tone 5̂ is kept in the same voice;
(a) ^1 in
other soprano
voices movefigures
to the(Example
nearest position.
Lower-neighbor 7-5): These figures occur frequently and pre-
sent no voice-leading
Pêndulo problems. The common tone 5̂ is kept in the same voice;
de Quinta Superior
other voices move tofigures
7-5 lower-neighbor the nearest position.
(a) ^1 in soprano
I–V–I
7-5 lower-neighbor figures
(a) ^1 in soprano
(a)posição de oitava (posição aberta e posição fechada)

(b) ^3 in soprano

^3 in soprano
(b)posição
(b) de terceira (posição aberta e posição fechada)

(b) ^3 in soprano

^
(c)(c) 5 in soprano
posição de quinta (posição aberta e posição fechada)
7 ^ 7
(c) 5V in soprano
I, V, and

(c) ^5 in soprano
that the leading tone (in the tenor) can move to the tonic. In Example 7-6b, the
leading tone descends to the 5th of I to make possible a complete chord. In Example
7-6c, the common tone 5̂ is kept in the alto throughout. The tenor leaps from the
leading tone to the 3rd of the tonic chord.

7-6 descending passing tones

(a)movimento descendente na(b)
(d) melodia (3 – 2 – 1) (c)
Descending
Descending passing
passing motion
motion (Example
(Example 7-6): 7-6): Theimportant
The very very important
melodicmelodic
progres- progres-
sion 3̂-2̂-1̂ often supports the cadential progression I-V-I, as at the
sion 3̂-2̂-1̂ often supports the cadential progression I-V-I, as at the end of Example end of Example
7-1.Descending
7-1. 3̂3̂and passing
and1̂ 1̂arearestablemotion
stabletones(Example
belonging
tones 7-6):toThe
belonging tovery
the theimportant
tonic melodic
triad; 2̂triad;
tonic 2̂ isprogres-
is a passing tone,
a passing tone,
sion 3̂-2̂-1̂ often
dissonant againstsupports
the thetriad.
tonic cadential
The progression
V provides I-V-I, as at the
consonant end of
support Example
for this pass-
dissonant against the tonic triad. The V provides consonant support for this pass-
7-1.
ing 3̂tone.
and With1̂ arethis
stable tones line,
soprano belonging to the tonic
the common tone triad; 2̂ is always
does not a passing tone,in
remain
ing tone. Withthe
dissonant
thistonic
soprano line,V the common tonesupport does not this always remain in
the same againstvoice. In Example triad. The
7-6a, provides
the 5th of theconsonant
final tonic chord for is omittedpass-so
the same voice. In Example 7-6a, the 5th of the
ing tone. With this soprano line, the common tone does not always remain in final tonic chord is omitted so
the same voice. In Example 7-6a, the 5th of the final tonic chord is omitted so

1 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Upper-neighbor
Cengage Learning. (Example
figuresMay
All Rights Reserved. 7-7):
not be copied, Compare
scanned, the voice
or duplicated, leading
in whole here with
or in part. 2/5/10that
11:33:06 AM

of Example 7-5. 20 2/5/10 11:33:06 AM

2/5/10 11:33:06 AM
 learned to extend a chord by changing its bass tone. Perhaps the most frequent
and important way of expanding any major or minor triad is by moving the bass
between the root and 3rd of the chord (Example 8-2). This, of course, changes
7-9 I-V-I in minor
the position of the chord from 53 to 63 (or the reverse). In this context, 63 func-
(e)(a)
em tonalidade
tions menor of 5 .(b)
as an inversion
errado 3 Suchcorreto
a procedure,(c)reflecting the consonant skip from
bom
second-species counterpoint, creates a melodic Theactivity
Dominantin the bass that
Seventh 123 makes it
possible to continue the same harmony without monotony. Thus, in bar 1 of the
Bach excerpt the initial tonic is expanded by a motion in the bass from 1̂ to 3̂
and back,
7-11 Haydn,producing the
Symphony No. III (simplified)5 - 6 - 5 . (The eighth-note A’s are passing tones
97,succession
333
and do not affect the harmony. The crossing of the alto voice over the soprano—a
relatively unusual event in Bach’s chorales—is brought about by the imitation
in the alto of the bass figure G-A-B .) At the beginning of a Handel variation I6 and
(Example 8-3a), both I and V are expanded. Here, the 63 chords come first,
I6 producing
e V6 a pattern of descending 3rds (8-3b and 8-3c).
8-3
9.(a)Expanding
8-2
Expansão
I and V in Four Parts.
6 expands In the
de um53acorde através da primeira
(a) Handel, Kuhnau,
Double
inversão IV we saw how
(from I and V were
Harpsichord Suite No. 5)
3
expanded by changing the position of all the upper voices, so that when the
soprano moved, the alto and tenor followed in parallel or similar motion. The
inner voices need not always follow the soprano, however. Sometimes consid-
erations of vocal range make it better for one or both of them not to. In mov-
ing from one chord position to another it is not necessary to keep the chord
complete: the 5th may be omitted, but take care not to omit the 3rd, and not to
double the leading tone (Example 7-10).

7-10 expanding a triad

(a) (b) (c) I6 and V6 137
V7 and
11.Nota: Nathe Soprano
primeira (Review Unit
Voice. qualquer
inversão nota 1, Sections
pode 9–11, especially
ser dobrada. in reference
Normalmente dobrar o soprano dá uma boa
to use of 4̂.)
sonoridade ao One veryAimportant
acorde. function
sensível nunca of V 7ser
(b) poderá is dobrada!
to supportA4̂sensível
in the soprano. (c) extremas deve sempre
nas vozes
In bars 3–5 of the
resolver6para a tónica. Haydn, 4̂ is part of a somewhat elaborated stepwise descend-
8-9
Um V within
ingacorde
line—in an expanded
na other words
primeira 4̂ tonic
functions
inversão convém as aquepassing tone; Example
seja atingido por grau7-12a showsno
conjunto this
baixo.
in reduced form. 4̂ supported by V 7 can also appear as a neighbor to 3̂, either
(a) (b) (c)
(b)complete
Expansão(7-12b)
do I grauor através
incomplete do V(7-12c).
6 Scale degree 4̂ supported by V7 can
also appear as a neighbor to 3̂ (Example 7-12b). As a general rule, the 7th works
best if it enters smoothly. Therefore approaching it by step—as a passing tone
or neighbor—integrates the dissonance into the line and often creates a better
effect
2011 Cengage than emphasizing
Learning. it by leaping
All Rights Reserved. May not into it. Thescanned,
be copied, technique of introducing
or duplicated, dis-or in part.
in whole
sonances smoothly is known as preparing the dissonance (in later units we shall learn
132
other ways of preparing dissonances). Leaping into the 7th as an incomplete 2/4/10 12:38:53 PM
neighbor (7-12c) is also possible, though less smooth. Such a motion represents
ant Seventha liberty not available to us in strict counterpoint; here it is the addition of a har-
monic framework that allows for greater freedom in voice
3. 63 Expanding leading. 8-4 shows the most important possibil
5 . Example
7 3 6 6
10. V as Dissonant Chord. Example 7-11, the
soprano overbeginning
the bassofprogression
the trio from I-I a (which
minuet could also be V-V ,
by ^ 7
7-12Haydn,
4 in theprovides
soprano an excellent Particularly
introductionimportant, of V . In
to the usebecause of bars
their3–5, and
far-reaching compositional
Vin7 bar6 7, 5̂ is in the bass, but the chord
are contains
parallel 10ths a 7th above
between
6 the
the bass
outer as well
voices as
(8-4a) and voice exch
(a) I can replace the initial tonic (b) in the7, progression I-V -I(c)(Example 8-10).
a 3rd and a 5th. Because of the 7th, V unlike V 5 , is a dissonant chord; the 7th,
(a)
Here the bass of V6 functions as an incomplete
Exemplos changingneighbor
two tones3to I.between
In minor,two voices, as in 8-4b).
the progres-
which represents a descending passing tone,
sion produces a perfectly good diminished 4th in the bass line must therefore resolve
(compare Example (review Unit
4, Section 7
7-9c, tenor). 12). Thus,
Because 7̂ isin the inHaydn,
active the6 4̂ of
the direction (7th 6 V ) of bars
8̂, Vofnormally 3–5 resolves
continues on to to 3̂
in
5 bar 6
6; likewise the inner-voice 8-4
4̂ of I-I and
bar 7 soprano
moves to 3̂ in bar 8. V7 has the same
I 3 , not I .
harmonic meaning as V, (a)but the dissonance (b) (a contrapuntal factor) (c) intensifies (d)
its (e)
driveI6toreplacing
the tonic. 7
8-10 I 53 V is therefore often part of an authentic cadence, as in bars
7–8 of the Haydn.
(a) (b) (c)

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duplicated, in whole or in part.
011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
 7-15 resolving V7
(a) (b) (c) (d)
(b) Resolução do V7 150 Unit 9 Inversions of V 7

15. V8-7. Dominant harmony is often extended and intensified by moving from 53 to
7, as shown in Example 7-18. This happens frequently in an
9-4 Mozart, Nonauthentic
ti fidar cadence, (fro
where the introduction of the 7th can be(a)emphasized 6 ^ by ato downward
V 43 -I (4 may move ^
5) leap of an
octave in the bass. Note that the 7th sometimes comes from 2̂ rather than 8̂.
3. V 65 . V 65 , like V6, has the leading tone as its bass and functions similarly as a
neighboring
8-7 chord to I (Example 9-3a). Any of the remaining chordal tones
7-18 V
canofappear in the soprano; perhaps the most characteristic soprano progression
9 Inversions V7
is 4̂-3̂, as in the Beethoven
(a) (b) excerpt (9-3b). Bar 3 of the Schubert Impromptu
V8-7 another characteristic function: there, the bass of V 6 forms an incomplete
shows
(c)
3
neighbor
9-4 Mozart,leading
Non from aI6melodic
Sometimes
ti fidar to I. The bass of V 65decorates
interpolation theDon
is involved
(from resolution;
in Giovanni,
a dissonantthis occurs most
relation-
K. 527)
frequently in the soprano voice (Example 7-16).
a) V 43 -I6 ship
^ may(diminished
(4 move to ^5) 5th) with 4̂ in one of the upper parts. Because the diminished
5th involves the bass it must resolve according to rule. Consequently, the bass of V 65
always ascends 1̂ except
7-16 tomelodic when it forms part of an expansion of V7—that is, when
interpolation
V 65 moves to another position of V7 before resolving to I.

9-3 (b)
Outras
(a) V 6 asinversões
N to I do V7
5
(a) V65
16. Expanding V7. Like I and V 53 , V7 may be expanded by changing the positions of
the upper voices. This may result in a transfer of the dissonant 7th from one voice
to another; the 7th will resolve in the last voice in which it occurs, as in Example
7-19.
14. V7-I: Doubling ^3. Normal resolution of the 7th combined with the melodic
motion7th
7-19 transferred 2̂-3̂ will result in a tonic with a doubled 3rd, as shown in Example 7-17a.
Despite the irregular doubling, the contrary motion into the doubled 3rd has a
(b) good effect, and the motion up to 3̂ often 9-5 helps to5 ; produce
V 43 -I ^ a beautiful
^ soprano
3 4 must resolve to 3
(b) V 3
4 line. On the other hand, resolution of the 7th combined with the melodic motion
(a)
5̂-3̂, as in 7-17b is not good; the similar motion into the octave on(b)3̂ creates an

11
9 Cengage of V 7 All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
Learning.
Inversions

8 2/4/10 12:28:53 PM
9-7 functions of V 4
opyright 2011 Cengage Learning.2All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
(a) (b) (c) (d)
130.indd 125 2/5/10 11:33:20 AM
(c) V2

9-5 V 43 -I 53 ; ^4 must resolve to ^3 Like VII6, V 43 most often occurs in a stepwise bass line.
1 Cengage Learning. All Rights Reserved. May not be copied, scanned,
partor
ofduplicated, in wholefigure,
a double-neighbor together with V6 or V 65 ,
or in part.
(a) (b) view the double-neighbor figure in Example 5-12).
2/5/10 11:33:20 AM

Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplic
(e) Bach, Chorale 67
89756_09_Ch09_147-160.indd 150
22
Like VII6, V 43 most often occurs in a stepwise bass line. It can, however, form
Pêndulo de Quinta Inferior (I – IV – I)

(a) Posição de oitava

(b) Posição de terceira

(c) Posição de quinta

Pêndulo de Segunda Inferior (I – vii – I)

(a) Posição de oitava

(b) Posição de terceira

23
 VII6 (Leading-Tone Triad) 139

10. Doubling VII6. It is usually best to double the bass tone, 2̂, because this is not
part
140 of the Unit
tritone;
8 I6,however,
V6, and VII6voice-leading considerations may make doubling 4̂
preferable. The leading tone must never be doubled. 6 VII (Leading-Tone Triad) 139

8-12 8-14 VII6: normal resolution of dissonance

passing VII6 and soprano
a) 10. Doubling
(b) VII6Bach
. It Chorales
is usually
(c) best to double
(d) the bass tone,
(e) 2̂, because this is not
part of the tritone; however, voice-leading considerations may make doubling 4̂
(a) No. 80 (b) No. 51
preferable. The leading tone must never be doubled.

8-12 passing VII6 and soprano

(c)
(a) Expansão do I grau(b)
através do vii6 (c) (d) (e)

8-15 VII6: A4-P4

8-13 neighboring VII6 and soprano
Bach Chorales
(a) (b) No. 72
(a) (c) (b) No. 40
it 8 I6, V6, and VII6

6 and soprano
8-14 VII6: normal
8-13 neighboring
resolution ofVII
dissonance
(a)
Bach Chorales (b) (c)
it 8 I6, V6, and VII6
(a) No. 80 (b) No. 51

8-14 VII6: normal resolution of dissonance

Bach Chorales
11. Resolution of Tritone. VII6 contains an augmented 4th or diminished 5th in the
Resolução do trítono presente If the no acorde deisvii:
upper
(a) No. 80voices. Because (b) theNo.
bass51of dissonance
VII6 is consonant a diminished
with both5th, moving
the other 4̂ upthe
tones, to 5̂ produces the prob-
lematic interval succession
effect of the dissonance is considerably softened. Very frequently, d5-P5 (Example 8-16a).
the tendency oftends to resolve the di-
Bach
minished(7̂5th 6 5 6
the tritone to resolve regularly 6to 8̂normally
and 4̂ towhen VII moves
3̂) is offset by otherto Iconsiderations
3 (Example 8-14b). However, if VII
such as achieving a complete moves totonic I Bach chordoftenor allows
stepwise 4̂ to move
voice up to 5̂Examples
leading. (Example 8-16b). In this situa-
tion,
8-14–8-17, taken from Bach chorales, 3̂, the tone of resolution, is transferred
illustrate some typical voice leadings, into the bass,
and where it forms a very
11. Resolution of prominent
Tritone. VII 6 contains
element of thean chord,
augmented and the
4thparallel
or 10ths
diminished above thethe
5th in bass make for a
you will find it useful to consult them when doing 6 voice your written work.
6 upper voices. fluent
Because progression.
the bass of This
VII is leading
consonant occurs
with frequently.
both the other tones, the
8-15 The dissonance will often resolve normally, as in Example 8-14. However, if
VII : A4-P4
effect of
the dissonance theaugmented
is an dissonance4th, is considerably
it can movesoftened.
to a perfect Very frequently,
4th, 4̂ movingthe uptendency
to of
Bach Chorales the tritone to resolve regularly
6 (7̂ to 8̂ and 4̂ to 3̂) is offset by other considerations
5̂ (Example 8-15). 8-16 VII : d5-P5
(a) No. 72 such as achieving(b) No. 40a complete tonic chord or stepwise voice leading. Examples
8-14–8-17, taken (a) from Bach chorales, illustrate (b) Bach,
someChorale
typical 47 voice leadings, and
you will find it useful to consult them when doing your written work.
8-15 VII6: A4-P4The dissonance will often resolve normally, as in Example 8-14. However, if
Bach Chorales the dissonance is an augmented 4th, it can move to a perfect 4th, 4̂ moving up to
5̂ (Example 8-15).
(a) No. 72 (b) No. 40

(VII6) (VII6)

011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

39
If the dissonance is a diminished 5th, moving 4̂ up to 5̂ produces the prob- 2/4/10 12:39:03 PM
lematic interval succession d5-P5 (Example 8-16a). Bach tends to resolve the di-
minished 5th normally
Copyright
when VII6 moves to I 53 (Example
2011 Cengage Learning. All Rights Reserved.
8-14b). However, if VII6
May not be copied, scanned, or duplicated, in whole or in part.
6
moves to I Bach often allows 4̂ to move up to 5̂ (Example 8-16b). In this situa-
Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.
tion, 3̂, the tone of resolution, is transferred into the bass, where it forms a very
89756_08_Ch08_131-146.indd 140 2/4/10 12:39:04 PM
prominent element of the chord, and the parallel 10ths above the bass make for a
1-146.indd 139 If the dissonance is a diminished 5th, moving 4̂ up to 5̂ produces the prob- 2/4/10 12:39:03 PM
fluent
lematicprogression. This voice
interval succession leading
d5-P5 occurs8-16a).
(Example frequently.
Bach tends to resolve the di-
minished 5th normally when VII moves to I 3 (Example 8-14b). However, if VII6
6 5
8-16 6 Bach often allows 4̂ to move up to 5̂ (Example
movesVIIto6:Id5-P5 24 8-16b). In this situa-
tion, 3̂, the tone of resolution, is transferred into the bass, where it forms a very
(a) (b) Bach, Chorale 47
prominent element of the chord, and the parallel 10ths above the bass make for a
 2̂, the
10-2 doubled
cadences root
with is the
IV, II, andonly
II possibility.
4.(a)Supertonic Harmony (II). (b) II lies a 5th above V and
(c)
Intermediate a step above I.163
Harmonies Thus, its con-
5. II6. II6 leads very convincingly to V, occurring particularly often at cadences. As a
nection with V is a harmonic one (similar to V-I); its relation to I is melodic
cadential chord, it is especially characteristic of the music of Mozart, Haydn, and
(similar to IV-V). I and II, like IV and V, have no tones in common. One way to
Encadeamentos Beethoven. em direção
Besides6 its aoobvious
V relation to II, II6 is also closely related to IV. The
10-2 cadences avoidwith
bad IV,parallels
II, and II is illustrated in Examples 10-5a and b: lead the upper voices in
progression II6-V combines features of II-V and IV-V. This progression embodies
ii, contrary motion(b)
(a)ii6 e IV the root progressions
to the bass—just as with IV-V. Example 10-5c shows another pos-
(c) though expressed less strongly, the root
by falling 5th of II-V,
sibility: parallel 10ths in the outer voices; the inner voices will move in contrary
of II nottobeing
motion in theones,
the outer bass. and
And IIthe progression
will has the3rd.
have a doubled stepwise
II andbass line of
V share IV-V.
2̂ as a
In minor, II6 can occur freely; as with VII in major, the diminished triad sounds
common tone. We can repeat the common tone in the same voice; the remain-
6 position.
much
ing twoless harsh
voices in normally
will 3 6 move up by step (Example 10-5a). Very 5frequently,
Moving from I to II is usually
however, the upper voices will all descend less problematic
(much asthan withmoving to II 3allows
IV-V). This . An excep-
1̂ to
tion would be when you have open position with
be preceded by both its adjacent tones, 2̂ and 7̂ (Example 10-5b). 3̂ in the soprano; as Example
10-6a illustrates, it is easy to get parallel 5ths between the inner voices. Example
(d) 10-6b shows a way to avoid (e) them. (f)
10-5 Inusing6 II
II -V, the upper voices usually descend, 2̂ moving to 7̂. Very often the progression
(a) 2̂-7̂ occurs in the(b) soprano, as in Example (c) 10-6b. Retaining (d) 2̂ in the soprano is usu-
(a) ii ally avoided, especially in minor where you are likely to get a melodic augmented
(d) 2nd (Example(e) 10-6c); however, see Example (f) 10-6d for a solution.
6
In moving from II (or II) to V in minor, the diminished 5th or augmented 4th
between 2̂ and 6̂ cannot resolve normally. 6̂ can (and usually should) descend to
5̂, but 2̂ cannot ascend to 3̂, for the V chord does not contain that tone. However,
the harmonic force of the progression is sufficiently strong to offset the melodic
irregularity.
3. Subdominant Harmony (IV). IV lies a 4th above or a 5th below the tonic; the
progression
10-6 usingI-IVII6 is analogous to V-I (falling 5th), the I moving easily and natu-
rally to IV. IV lies a step below V; there is a strong melodic connection between
(a) (b) (c) (d)
3. (b) ii6 the two
Subdominant
chord roots. Two triads with roots a 2nd apart share no common tones;
Harmony (IV). IV lies a 4th above or a 5th below the tonic; the
in moving
progression from IV totoV,V-I
I-IV is analogous therefore, all four
(falling 5th), thevoices musteasily
I moving proceed
and to a new tone. If
natu-
you’re
rally to IV. nota careful,
IV lies step below youV;will soon
there is find that melodic
a strong the absence of common
connection betweentones makes
it dangerously easy to produce parallel 5ths and octaves;
the two chord roots. Two triads with roots a 2nd apart share no common tones; to avoid them, lead the
upper 5
in moving fromvoices
IV to V,in therefore,
contrary motion
all four to the bass,
voices must as in Example
proceed to a new10-3a.
tone.AsIfwith most 3
you’re notchords, theyou
careful, root is soon
will usually thethat
find bestthetone to double.
absence of common tones makes
it dangerously easy to produce parallel 5ths and octaves; to avoid them, lead the
upper voices 5
10-3 inusing
contrary
IV motion to the bass, as in Example 10-3a. As with most 3
chords, the root is usually the best tone to double.
Copyright(a) (b)
2011 Cengage Learning. All Rights Reserved. (c) or duplicated, in whole or in part.
May not be copied, scanned,
(c) IV
10-3 using IV
1-180.indd 164 2/4/10 12:40:08 PM
(a) (b) (c)

Intermediate Harmonies 167

pyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

10-8 approaching V7
180.indd 165 2/4/10 12:40:08 PM
Nota: cuidado com as quintas e oitavas paralelas no encadeamento de IV para V
(a) (b) (c) (d) (e)
Encadeamentos em
Any of direção
the ao V7that belong to IV (4̂, 6̂, and 1̂) can appear in the
three tones
soprano. At cadences 4̂ (moving to 2̂ over dominant harmony) and 1̂ (moving
to 7̂) are the most usable. The same melodic tones can occur when IV moves to a
Any of the three tones that belong to IV (4̂, 6̂, and 1̂) can appear in the
soprano. At cadences 4̂ (moving to 2̂ over dominant harmony) and 1̂ (moving
to 7̂) are the most usable. The same melodic tones can occur when IV moves to a

right 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part.

1.indd
Cengage
163 Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. 2/4/10 12:40:06 PM

Especially in free, instrumental textures, but often in four-part vocal style as

well, the 7th of V7 can enter by leap (usually from
25 below), the preparation2/4/10
occur-
12:40:06 PM

ring in another voice (Example 10-9).

Cadencial 64 (ou Segunda Inversão Cadencial)

Origem do Cadencial 64: derivação do retardo 4 – 3

Movimentação para o V7

26
Dobragem das vozes no cadencial

(a) dobrar a nota do baixo (melhor opção)

(b) dobrar o intervalo de sexta (possível)
(c) dobrar o intervalo de quarta (errado)

Posição rítmica do cadencial

(a) nunca
(b) bom
(c) bom
(d) bom
(e) bom
(f) bom
(g) bom

27
Outros tipos de acordes na 2ª inversão

Acorde 64 de passagem

Acorde 64 por nota pedal

28
Modelos harmónicos praticados por J. S. Bach

(a) ii –V – I

(b) vi – ii –V – I

(c) I –V – I

29
B

(a) (I) – ii – V – I

(b) (I) – IV – V – I

(c) I – V – I

(d) I – V – I (cadencial 64)

(e) vi – ii – V – I

30
C

(a) (I) – IV – vii - I

(a) IV – I – ii – V – I

31
Baixo Contínuo

Baixo Contínuo, Baixo Figurado ou Baixo Cifrado é um sistema de notação musical utilizado para indicar os
intervalos em relação a uma nota que se encontra no baixo.
Baixo Contínuo pode referir-se tanto à melodia de baixo (tocada por instrumentos graves: viola da gamba,
violoncelo, contrabaixo, fagote, trombone ) como a este sistema de notação musical.
Esta prática era utilizada no Barroco pelos músicos de instrumentos polifónicos para saberem que harmonias
tocar para cada uma das notas do baixo (cravo, orgão, alaúde, tiorba, etc…)
Para além disso, esta pratica também é utilizada para escrever ou tocar peças a 4 partes (SATB) em estilo
coral ou como sistema de análise.

Cifras
Os números representam os intervalos que devem ser tocados ou cantados a partir da nota do baixo;
Intervalos compostos (mais de uma oitava) são normalmente reduzidos para intervalos simples;
Estes intervalos não contêm informação sobre a qualidade do acorde. Essa qualidade está implícita na
tonalidade em questão e nas alterações cromáticas que vão aparecendo;
O Baixo Cifrado não inclui informação sobre a condução melódica: o executante deve saber as regras de
condução melódica específicas do Barroco (evitar 5ª e 8ª paralelas, etc…)

Alterações às Cifras
Os seguintes símbolos indicam que determinado intervalo deve subir meio-tom, relativamente à tonalidade
em questão:
• \ em cima do número
• + (antes ou depois do número)
• # (antes ou depois do número)
Os seguintes símbolos indicam que determinado intervalo deve descer meio-tom, relativamente à tonalidade
em questão:
• / em cima do número (muito raro)
• b (antes ou depois do número)
Um bequadro substitui a alteração da armação de clave ou outros acidentes que surjam no compasso.
Se uma alteração surgir isolada sem um número esta refere-se sempre ao intervalo de terceira a partir do
baixo.

Abreviação das Cifras

Se nenhuma figura aparecer sobre o baixo, assume-se os intervalos de 8, 5 e 3 (estado fundamental).

32
33