Musical Texture & Chordal Spacing

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In second inversion Major and minor triads, double the pitch class that appears in the bass, the chordal 5 th Voice Doubling – Second Inversion
In seventh chords, assign each of the four voices different pitch classes a separate voice part (Fig. 5) Occasionally the chordal 5 th may have to be omitted and the root doubled (Fig. 6) Figure 5 Figure 6 Voice Doubling – Seventh Chords
Page 1 and 2: { Musical Texture & Chordal Spacing
Page 3 and 4: Monophonic Texture Single melody l
Page 5 and 6: HOMORHYTHMIC Bizet: Farandole from
Page 7 and 8: Melody and Accompaniment The melod
Page 9 and 10: A Bizet: Farandole A. Free counter
Page 11 and 12: Distribution of chord member over a
Page 13 and 14: Four-voice texture favor by 18 th C
Page 15 and 16: Condensed or Closed Choral Score Op
Page 17 and 18: Close Structure (C) - less than an
Page 19 and 20: Open Octave/Neutral Structure (O/O)
Page 21 and 22: Doublings are inevitable Doubled v
Page 23: In first inversion Major and minor
Page 27 and 28: Unison or Octave almost always sugg
Page 29: Two-Part Chordal Practice

Musical Texture & Chordal Spacing

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