four part close

four part close - iii. D below middle C (if 3 rd of a...

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Four-part close voice leading – Michael Wartofsky 1. In my class, forever and evermore, when I say four-part close voice leading , please imagine four trumpets PLUS a bass line. (or four singers plus a bass). All on treble clef: Trumpet 1 Trumpet 2 Trumpet 3 Trumpet 4 Bass clef: Bass line (which you get from the chord symbols) 2. With four trumpet players on stage, you must provide each player with a reasonable melody. When the trumpets all play together, it sounds like chords. Each player needs a note to play for each chord change. For a triad, you must double one of the chord tones – don’t just leave it out. 3. Keep all voices (trumpets) as close together as the chord spelling will allow. Don’t leave out chord tones (that would be “spread” voicings.) 4. Range: try to stay mid-range. Even though I’m talking about trumpets, these voicings are most often used by pianists, and sound best as follows: a. highest note – C above middle C b. lowest note i. E below middle C (if maj 7 of a chord) ii. Eb below middle C (if b7 of a chord)
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Unformatted text preview: iii. D below middle C (if 3 rd of a chord) 5. Keep common tones in the same voice. 6. Next preferred move from note to note is by step. 7. The largest interval leap within a part is a 3 rd . 8. If your voicings get too low in range, change position a. during the duration of the chord, or b. at the end of a phrase (you can leap as high as you like from last note of a phrase to the first note of the next.) 9. For class purposes only, you must avoid the interval of a minor 2 nd between the top two voices (trumpets 1 and 2). This sounds exposed and dissonant. In reality, there may be times you would want to use this dissonance, but I want you to learn to recognize it first. SOLUTION: a. Re-voice the chord so the 2 nd is not between the top two voices b. Substitute an available tension instead of the top chord tone (usually 9 th instead of root) 10. If there is a lead melody, make sure the voicings (trumpets) dont clash with the melody....
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This note was uploaded on 04/26/2008 for the course HARM 121 taught by Professor Wartofsky during the Spring '08 term at Berklee.

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