Four+part+writing,+Voice+Leading,+Analysis

March 17: Reviewed unit 4 and began unit 5. Took notes on voicing chords and copied voice leading information.

March 18: Reviewed voice leading information. Took notes on how to harmonize a melody in 4 parts.

March 21: Copied part writing notes and reviewed unit five.

March 22: Copied notes on principles of part-writing and Neil notes. Looked over 6/4 chords and part writing help sheet.pdf. Reviewed unit five.

March 23: Reviewed unit 5 and did unit 5 vocabulary.

March 24: Started fourth part 1 and 2 worksheets.

March 25 through midterms: Reviewed

April 4: Did writing assignment
 * Voicing Chords:**

Composers will often arrange the notes of a chord in numerous ways in order to vary its sound (root position, first inversion, second inversion, etc)...for example, F chord=F, A, C...in root position, F is the lowest note, in first inversion, A is the lowest note, and in second inversion C is the lowest note.


 * Voice Leading:**

Voice-leading describes the way in which individual parts or 'voices' interact, creating and embellishing the progression from one chord to another. Although being able to identify chords allows you to describe chord progressions, it does not help the description of how the music moves from one chord to the next. Voice-leading characteristics are at least as important as harmonic language in distinguishing the tonal styles of different composers.The importance of voice-leading even in music that is essentially chordal (as with the Bach chorales that dominate the examples of harmonic progressions) can be demonstrated by trying to reconstruct a piece of tonal music from a written description. If you knew about chords but had no knowledge of voice-leading and were asked to write the chord progression **II6/5**-**V**-**I**, your attempt might look something like the following:

Voice-leading is sometimes presented as a set of rules, but it is better to think of it as a set of characteristics specific to a certain style. You would never find the above example in a piece of music by Bach because the voice-leading is uncharacteristic of his writing. A style is partly defined by its typical voice-leading characteristics, and conversely a discussion of voice-leading rules is almost meaningless without reference to style (see the section on [|style]in the Toolkit). The characteristics of a particular voice-leading style can informally be broken down into four overlapping categories:

[|**general characteristics**] (voice-leading traits that are typical of the style)

[|**interval succession**] (successions of intervals that are avoided or preferred within the style)

[|**resolution of tension**] (characteristic ways of introducing resolving tensions, particularly those created by **dissonances**)

[|**embellishing progressions**] (characteristic ways of embellishing or decorating the progression from one chord to the next)


 * GENERAL CHARACTERISTICS**

Some general voice-leading characteristics can be inferred from this short extract:
 * all the notes of the triad are present in each chord
 * the voices avoid moving all in the same direction (even in bar 1 beats 3-4, the alto voice stays on the same note while the other voices descend)
 * leaps larger than a fourth in the upper three voices are rare
 * the direction of motion within each voice is varied (e.g. the downwards motion from bar 1 beat two is balanced by upward motion in the next bar)
 * it is generally the root that is doubled
 * the chords at the cadence are in root position


 * INTERVAL SUCCESSION:**

There are four main types of motion that are possible between two voices as summarised in the table below. In most tonal styles, any succession of intervals can appear in oblique or contrary motion but there is only rarely parallel or similar motion to a perfect **intervals** - i.e. perfect fifths, fourths and octaves. Much tonal music seems to follow - at least in outline - the rules and guidelines set out in [|species counterpoint], a method which dominated the teaching of composition for several centuries. Particularly important is the treatment of **dissonant** intervals, discussed on the **resolution of tension** page.


 * **Parallel** - the two voices move in the same direction by the same interval || [[image:http://www.tonalityguide.com/tkparallelmotion.gif align="center"]] ||
 * **Similar** - the two voices move in the same direction but by different intervals || [[image:http://www.tonalityguide.com/tksimilarmotion.gif align="center"]] ||
 * **Oblique** - one voice stays stationary while the other moves || [[image:http://www.tonalityguide.com/tkobliquemotion.gif align="center"]] ||
 * **Contrary** - the two voices move in opposite directions || [[image:http://www.tonalityguide.com/tkcontrarymotion.gif align="center"]] ||


 * RESOLUTION OF TENSION:**

The notion of **consonance and dissonance** is vital for understanding the suggestion that there are tensions within tonal music that need to be resolved. According to the style of the music, tensions introduced by a dissonant note will tend to be introduced and resolved in certain ways. In chord progressions without any embellishment (as in the simplified chorale examples on this page), many earlier tonal composers avoided excessively prominent **dissonances** by following two general guidelines: Different tonal styles conform to these guidelines to different extents - as dissonances became more acceptable composers tended to treat them more freely. Nevertheless there are characteristic restrictions on the way in which dissonances are introduced and resolved that are common to many styles. Two brief examples of voice-leading prescriptions follow. The [|embellishing progressions] described in the final section of the voice-leading part of the tool kit show various way of decorating chord progression with dissonant notes. You will find many other examples in the main body of the site.
 * 1) any dissonance is both **introduced** and **resolved** by descending stepwise motion (stepwise motion is when a voice moves by major or minor seconds)
 * 2) the dissonance appears on an **unaccented** part of the bar

A **seventh** is considered **dissonant** in most tonal styles and therefore introduces a tension that needs to be resolved. Most tonal styles resolve the seventh by **descending stepwise motion**, but, as discussed in the style section of the ToolKIT, the extent to which composers followed the the voice-leading restrictions on sevenths gradually decreased over time.
 * Sevenths**


 * Suspensions**

The suspension is a way introducing a **dissonant** note on an **accented** part of the bar. The **4-3 suspension** is one of the most commonly used. In this type of suspension, the third above the bass in a root position **triad** is delayed until the next beat by the introduction of the dissonant fourth above the bass. In the example below, the third of the G major triad (b1) is preceded by the fourth above the bass (c2) which is **dissonant** with the fifth of the triad (if you are unfamiliar with giving notes a name and number - e.g. c2 - click on the basics button in the toolkit). Suspensions follow the general guideline for resolution of tension that the dissonance should resolve **downwards by step**. It also introduces the dissonant note on an accented part of the bar so the suspensions must be introduced - or **'prepared'** - by the suspended note appearing in the same voice in the previous chord.

You will find many examples of tensions being resolvved in the rest of **TonalityGUIDE.com** that do not involve dissonance. **Leading notes** have a tendency to resolve upwards by step and in some styles there are quite strict rules governing, for example, **diminished seventh** chords. What they have in common with suspensions and sevenths is that they are still basically concerned with the resolution of tension of one kind or another.
 * Other Resolutions of tension**


 * EMBELLISHING PROGRESSIONS:**

Tonal music would be rather dull if it consisted simply of chord progressions that followed the various rules and guidelines set out in the first four sections of 'Understanding Voice-leading'. Fortunately, there are a many ways of embellishing these progressions, and it is these embellishments that help make melodic writing distinctive. Although you find different patterns of embellishment characteristic of particular composers or eras, there are a fairly small number of basic types that are common to most styles. There are two main types of embellishment: **consonant and dissonant**. The **arpeggios** below are a good example of a **consonant embellishment** of a chord progression.

This section, however, concentrates on **dissonant embellishments**. Most tonal composers up until the beginning of the twentieth century prefered to avoided an excess of prominent dissonances. As is discussed in [|resolution of tension], the general rules for avoiding prominent dissonances are that they appear on an **unaccented** part of the bar and are introduced and resolved by descending stepwise motion. The less these guidelines are followed the more dissonant the music becomes.


 * How to harmonize a melody in four parts:**

Determine what scale degrees your melody tones are....remember what chords these fit into (I= do mi sol, V= sol ti re)...then take the bass note of the appropriate chord and slide it under each melody note (now the bass notes are the roots of the chords)..the next step is to fill the inner voices, make sure you use only notes in the triads (add thirds, fifths, etc)...finally, check your part for doubling, spacing, parallel 5ths and 8ths, and proper resolution of the leading tone


 * Partwriting:**

Voice Ranges
> Keep the top three voices within an octave of each other. > The distance between the bass and tenor can be of any reasonable interval (never greater than two octaves). >

Triad Position
> A triad is in //close// position when the distance between the soprano and tenor is //less// than an octave--no other chord tones can be written between the soprano and tenor voices. > A triad is in //open// position when the distance between the soprano and tenor is //more// than an octave--another chord tone besides the alto voice could be written between the soprano and tenor voices.

Safe Doublings
> As a general rule, the //tonic//, //subdominant// and //dominant// tones in a key can be doubled freely.

Usual Doublings
> //Root position//: Double the root. > //First inversion//: Double the soprano note. > //Second inversion//: Double the bass note. EXCEPTIONS: > > //Minor triads// (root or 3rd in bass): The 3rd is often doubled, particularly if the 3rd is the tonic, subdominant or dominant note of the key. //Diminished triad// (usually in first inversion): Double the 3rd; when the 5th is in the soprano, double the 5th. > //Augmented triad//: Double the bass note. > //Seventh chord//: Usually all four voices are present. In the major-minor 7th chord, root in bass, the root is sometimes doubled and the 5th is omitted. > //Altered triad//: Avoid doubling the altered tone unless it is the root. Otherwise, same as non-altered triads.

Chord Connection
> Move each voice the shortest distance possible. > Move the soprano and bass in contrary or oblique motion if possible. > Do not double the leading tone, any altered tone (including the #6 and #7 scale degrees in minor), any nonharmonic tone, or the 7th of any chord. > Avoid parallel 5ths and parallel octaves between any two voices, and the augmented second (A2) in a melodic line.

**Triads in Root Position**
//Repeated Roots//: When roots in the bass are repeated, the two triads may be written in the same position (open or close), or they may be in different positions. Triad positions should be changed: >> when necessary to keep voices in correct pitch range; >> when necessary to maintain a voice distribution of two roots, one 3rd and one 5th; >> to avoid large leaps in an inner voice. //Roots a Fifth/Fourth Apart// (one common tone): >> Retain the common tone; move the other voices stepwise; the roots of both chords should be doubled. >> Or, do not keep the common tone, especially when the soprano descends from scale step 2 to 1; move all three upper voices in similar motion to the nearest chord tone; the roots of both chords should be doubled. >> Or, move the 3rd of the first triad by the interval of a fourth to the 3rd of the second triad; hold the common tone and move the other voice by step. >> At the cadence, the root of the final triad may be tripled, omitting the 5th. //Roots a Second Apart// (no common tone): >> Move the upper three voices in contrary motion to the bass, making sure each voice moves to the nearest chord tone of the next chord; the roots of both chords should be doubled. >> EXCEPTION: >> In the progression V-vi or V-VI, double the 3rd factor of the vi or VI chord. Only two upper voices will move in opposite direction to the bass. //Roots a (M/m) Third Apart// (two common tones): >> Keep both common tones and move remaining upper voices stepwise; the roots of both chords should be doubled. >> GENERAL EXCEPTION: >> When it is impossible or undesirable to follow conventional procedures, double the 3rd in the second of the two triads; however, if this third is the leading tone or any altered tone, double the third in the first of the two triads.

Triads in Inversion
When one of the two triads is in inversion, write to or from the doubled note first, using oblique or contrary motion if possible, and then fill in the remaining voices. When both triads are in an inversion, each triad must have a different doubling to avoid parallel 5ths and/or octaves, or the same doubling may appear in a different pair of voices. As always, avoid doubling the leading tone or any altered tone. Approach and leave each doubled tone as prescribed. FIRST INVERSION: Double any factor that facilitates smooth voice-leading. Favored notes are the soprano (most common) and bass. As always, do not double the leading tone. Voice-leading for the viio6: >> Double the 3rd (bass note) or 5th factor; bass is preferred. Move all voices with as much stepwise motion as possible. Avoid melodic skips of a tritone. Voice-leading for the iio6 in minor: >> Double the 3rd (bass note) or the root, which will be in an upper voice. When approaching or leaving the iio6, make voice-leading stepwise whenever possible, and avoid melodic tritones. SECOND INVERSION: Except in unusual circumstances, double the 5th (bass note) of the chord. Approach and depart second inversion with as few skips as possible; only in the arpeggiated second-inversion chord is the bass note approached or left by skip. Use only the four types of second inversion chords described: cadential, passing bass, arpeggiated bass and pedal bass.

Nonharmonic Tones
> A nonharmonic tone temporarily replaces a harmonic tone. Approach and leave any nonharmonic tone according to the definition of the NH tone being used. > Consider an accented nonharmonic tone as one of the chord tones, so that when it resolves, the chord displays conventional doubling.

Seventh Chords
> The 7th usually resolves down by step. > All four factors of the V7 are usually present, but, for smoothness of voice-leading, the fifth may be omitted and the root doubled. > If the resolution tone is not present (rare), keep the 7th as a common tone, or move it as little as possible.

Stuff NOT to do ...
> Avoid parallel 5ths, 8ths or unisons. (Successive perfect intervals are //not// considered parallel.) > Avoid doubling the leading tone (7th scale degree). > Avoid the melodic augmented 2nd (A2) and augmented 4th (A4) in all voices. > Do not write pitches out of the range of the given voice. Keep all four voices within their ranges at all times.

Stuff you can OCCASIONALLY do ...
Avoid crossing voices. Keep voices in proper order from highest to lowest (SATB). On //rare// occasions crossing of voices is justified if it improves voice-leading. Do not overlap two adjacent voices unless unavoidable. An overlap occurs between two chords when one voice moves above or below the previous pitch of an adjacent voice. Overlaps of a half- or whole-step may be employed if it improves voice-leading, and there is no acceptable alternative. Avoid moving in the same direction to perfect intervals in the two outer voices (S/B). Such motion creates the effect of parallel perfect intervals. Unequal fifths, e.g., P5 to d5, or vice versa, are found and may be used sparingly. Melodic augmented 2nds and 4ths are almost never found in chorale literature of the 18th century, however: >> The melodic descending diminished 5th (d5) appears sometimes in the bass voices, but rarely in the soprano. >> The diminished 4th (d4) is a diatonic interval in the harmonic minor scale (from the 3rd scale degree down to the 7th), and may be written in isolated situations. The leading tone should progress upward to tonic when in an outer voice (S/B). Exceptions are rare.

viiø7 and viio7
> Resolve the 7th of the viiø7 and viio7 (and inversions) down one diatonic scale degree. > Resolve the tritone (root to 5th) //inward// if a d5, and //outward// if an A4, whenever possible.

Nondominant 7th Chords
> Resolve the 7th of nondominant seventh chords one diatonic scale degree //down// to the 3rd of the next chord (in circle progressions). Otherwise, resolve the 7th down one step if its resolution is a part of the following chord.

Secondary Dominant Chords
> Resolve the 7th of the V7/? down one scale degree in the same voice. > All four factors of the V7/? are usually present.

Secondary Leading-Tone Chords
> For the viio6/?, no established voice-leading pattern exists, but double bass note, avoid skips of a tritone, and move all voices with as much stepwise motion as possible. > Resolve the 7th of the viio7/? or viiø7/? (and inversions) down one diatonic scale degree. > Resolve the tritone (root to 5th) of the secondary leading-tone chord //inward// if a d5 and //outward// if an A4, whenever possible.

Borrowed Chords
> Altered tones are seldom doubled. Otherwise, follow the guidelines for all borrowed chords as they appear in the parallel minor or major keys.

Neapolitan 6th Chord
> Double the 3rd (bass note) of the chord whenever possible. Move upper voices in contrary motion with the bass, and avoid chromatic voice-leading in leaving the N6. When N6proceeds to the tonic chord in second inversion, watch out for parallel 5ths.

Augmented Sixth Chords
> Resolve the +6 interval outward (in contrary motion) by half-step to an octave. Neither of the two tones forming the +6 is ever doubled. In the Italian 6th, double the 3rd above the bass note. > To avoid parallel 5ths, the German 6th proceeds to the tonic six-four instead of V (the eventual chord of resolution). > In major keys, when the Gr6 progresses to the tonic six-four, the P5 above the bass is spelled as a doubly augmented 4th to avoid chromatic spelling of resolution (upward to the 3rd of the tonic).

9th, 11th & 13th Chords
> For V9, the root, 3rd 7th and 9th are usually present. The 7th and 9th resolve down to the 3rd and 5th of the tonic triad. > For V11, the root, 7th, 9th and 11th are usually present. The 11th is retained as a common tone (tonic note), while the 7th and 9th resolve down to the 3rd and 5th of the tonic triad. > For V13, the root, 3rd, 7th and 13th are usually present. The 13th is usually in the soprano and resolves a 3rd downward to the tonic factor of the tonic chord. The 7th resolves down by step to the tonic's 3rd.

Altered Dominants
> Take the 5th in the direction of the alteration: raised pitches up; lowered pitches down. > Remember to resolve the 7th of the chord downward by step, even if it results in a nonstandard doubling of the tonic triad. > Altered tones are almost never doubled.

Chromatic Mediants
> Double the root of chromatic mediants, even if this results in doubling an altered tone. > Resolve as smoothly as possible, even if chromatic voice-leading results. >

"Quickie" Rule-of-Thumb Doubling Chart
>> *Never double the 3rd of V (leading tone). >> R=Root, S=Soprano, B=Bass, 3=3rd of triad, "-" = Either no practice, or does not apply.

Principles of Part Writing
The music of the common practice period did not appear overnight. The principles that govern it were the result of almost 1000 years of scientific research and artistic experimentation. One of the principles is that of equal emphasis on both harmony (vertical) and line (horizontal). The process of writing music that addresses both of these aspects is referred to as **voice leading** or **part writing** (these two terms are used interchangeably). Four-part choral music is most often used to demonstrate and teach voice leading, since it addresses most of the problems, methods, and principles for writing for more or fewer voices. Four voice choral part writing is often referred to as **SATB** (Soprano, Alto, Tenor, Bass) part writing. Although all parts follow the smooth, melodic principles discussed in the previous section on melody, the issue of contour is usually reserved for the soprano alone.

Ranges
The following are the ranges allowed by most theorists for each voice. Although it is certainly possible for good singers to sing beautifully beyond these ranges, it is helpful to have a rather fixed limit for each voices range to effectively study this craft. When writing parts, it is important to always keep each voice within its range, and also not to allow voices crossing (when a higher voice becomes lower than a lower voice). **Voice crossing**blurs the distinction between the parts, especially when played on a keyboard instrument. The following is an example of voice crossing. Notice how when the voices cross in this example, the first two beats will sound as though the alto and tenor repeat the same pitches.

**Voice overlap** is when a line crosses above or below a pitch recently sounded by another voice. Although this is not voice crossing, when the notes are only one to three beats apart, the ear may still hear the voices as overlapping, and the independence of line is diminished. Although Bach and many other great composers occasionally wrote overlapping parts, there was always a good, melodic reason. So, unless there is a compelling compositional reason, this error should also be avoided.

Types of Motion
By definition, two or more voices can move in only four basic types of motion: 1) **Parallel Motion** - both voices move in the same direction by exactly the same interval. In this example, both voices move down by a M2.

2) **Similar Motion** - when both voices move in the same direction, but by different intervals. In the following example, the top voice moves up by a M2, while the lower voice moves up by a P5.

3) **Contrary Motion** - the voices move by any interval in the opposite direction.

4) **Oblique motion** - one voice moves in any direction by any interval while the other remains on the same pitch, not moving at all.

Part Writing Procedures
In order to achieve a level of independence of line for all four parts, **parallel motion of Perfect Octaves, Perfect Fifths, and Unisons should be avoided**. Since these are the lowest intervals on the overtone series, when two or more voices move in parallel motion in these intervals, they can blur together and sound like only one voice (in the case of unisons, they actually become one voice). Parallel motion by thirds, fourths and sixths is acceptable and often desirable, however, two voices should not move in parallel motion for several beats in succession. This would reduce their independence. To most easily avoid part writing errors, the following procedure is very helpful:


 * 1) **Begin with a good melody** using the principles discussed in the [|section on melody]. Use a general contour that is in contrary motion to the bass and try to keep the melody and bass lines at least an octave or more apart.When they become too close together, you can create a bottleneck/jam that usually results in part writing problems. Be sure all tendency tones resolve properly and avoid all parallel fifths and octaves.


 * 1) After you have a good melody, **move forward writing the inner voices one chord at a time.**


 * 1) **Stay within the ranges of the voices.** If you notice that a voice is getting toward the limit of its range, try to move inward if possible. Also, **Keep the space between each of the upper voices (all except bass) within one octave or less** (i.e. Soprano to Alto and Alto to Tenor spacings are each an octave or less).


 * 1) **Use only notes that are a part of the harmony.** Non-Chord Tones will be discussed later. If it helps, lightly dot in all pitches belonging to the chord between the melody and the bass so you know what choices are available.


 * 1) **Keep common tones when possible in your inner voices.** Often there may be a pitch that is a part of adjacent chords. Since parallel __motion__ is to be avoided, avoiding motion of a voice all together eliminates that possibility.


 * 1) **When you must move, move the inner voices in contrary motion to the bass by the smallest interval whenever possible.** This one simple step eliminates most part writing errors.


 * 1) **The 7/7 rule:** //scale degree seven// (the leading tone) should resolve to tonic (always when in an outer voice, unless a part of a line proceeding down from tonic to dominant, (i.e.: 1-7-6-5)) and the //seventh of a chord// should always resolve down by second. Neither of these should be doubled.


 * 1) **Don't double any note with a chromatic alteration** and **resolve chromatically altered notes by step (the interval of a second) in the direction of their alteration.** For example, an added flat lowers the pitch, so it should resolve down by step. Added sharps raise the pitch, and should resolve up by step.


 * 1) Finally, **check each voice for undesirable parallel motion** between each of the other voices. Recheck the ranges for voice crossing and overlap. Be consistent and systematic in this. Just as good drivers look twice before crossing an intersection, good part writing students double check their work before moving to the next chord.

When problems arise:

 * 1) When you find yourself erasing a note or chord 2-3 times, stop. There is a problem. First, check to be sure all of your notes fit the specified chords. Wrong notes usually lead to voice leading problems. Be sure also to check backwards one or two chords for errors.


 * 1) Back up one or two chords to a point where you have another choice in how the chord is voiced or arranged. Try rearranging the pitches in a manner that doesn't form new problems (i.e. voice crossing, voice overlap, exceeded ranges, etc.) then try moving ahead with the inner voices on their new paths.


 * 1) If problems still arise, you may need to rewrite the melody, beginning back 2-3 chords. If this happens, try opening up the spacing between the melody and bass even more to allow more options for the inner voices.


 * 1) Large leaps (more than a third or fourth) often cause voice leading problems. If you see a large leap within one or two chords of your problem area, go back and rewrite the part so as to reduce or avoid the leap.

Doubling
When writing triads, there are only three pitch classes but four voices. This means that two or more voices will have the same pitch class. This is called **doubling**. When you have a choice, try to double the root or fifth of the chord. Avoid doubling any note with an accidental added or a tendency tone.

[]

[]


 * Neil Notes:**

Four Part Writing SATB: Maintain integrity of individual voices  SA=Treble Clef (S=stems up, A=stems down)  TB=Bass Clef (T=stems up, B=stems down)  (sometimes tenor is written in treble clef and sounds down an octave)

 Mind your vocal ranges

 Root Position & Second Inversion=Double the bass or I'll break your face

 Do not exceed more than an octave between the S & A or the A & T

 First Inversion=Double the soprano or I'll break your piano

 vii0=Diminished chords MUST be written in first inversion AND must double the bass

 I7 needs no doubling :)

 Smooth Voice Leading: Retain common tones when ever possible  Write the bass line first, do the double next, appropriate distribution of remaining voices

 Parallel motion=Together  Similar motion=Kinda together  Oblique=same & one goes up or down  Contrary=opposite

<span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> YOU CAN NOT HAVE PARALLEL OCTAVES, PARALLEL UNISONS, PARALLEL FIFTHS

<span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> BEWARE of second inversion chords....BEWARE!

<span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> Two types of voicing: Closed=no chord tone between SAT, Open=chord tone can fit in between SAT

<span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> Diminished 5th=resolves inward, Augmented 4th=resolves outward

<span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;"> Can omit the 5th if needed to follow the rules




 * __SEVENTH CHORD INVERSIONS:__**

7ths Chords
We begin with a root position chord.**Root position**= not inverted (the root of the chord) is in the bass. For root position, we get intervals 3, 5, & 7 (how chords are built - in 3rds, every other tone). We shorten this to just a 7 (doesn't tell us what kind of 7 this - depends on the type of chord being built - Major 7, Dominant 7, or minor7, etc.).

means the 7th is in the bass. We move the 5th to the top, and we have intervals of 6, 4, 2, and shorten this to just 2 (or 4/2).
 * First inversion**means the 3rd is in the bass. When we move the root to the top, we create an intervallic scheme of 3, 5, 6 and shorten this to 6/5.
 * Second inversion**means the 5th is in the bass. We move the 3rd to the top which creates the intervals 6, 4, 3, and shorten this to 4/3.
 * Third inversion**

Vocabulary
Similar motion: when both voices move in the same direction, but by different intervals Contrary motion: t he voices move by any interval in the opposite direction Oblique motion: one voice moves in any direction by any interval while the other remains on the same pitch, not moving at all Parallel motion: both voices move in the same direction by exactly the same interval Open Voicing: a chord voicing with wider spacing Closed Voicing: t he most compact chord voicing
 * Define these 6 terms in your Unit 5 Wikispace Portfolio: //(You may wish to create a separate page for Terms)//**