• Part-writing requires knowledge of melody, interval, triads, inversions, seventh chords, cadences, non-chord tones, figured bass, chromatic harmony, resolution tendencies, and counterpoint.

Part-Writing and Figured Bass Examples

Figured Bass in Eb Major

• This example uses three-second inversion triads and introduces the submediant triad (vi) and the deceptive cadence.

  

• Add the Roman numeral chord symbols and inversions.

  

• Write the melody

  

• Fill in the alto and tenor at the same time

  

• Check your work

  • Correct chord members

  • Resolutions (including holding the chordal seventh on Ab until it can resolve to G)

  • Double the fifth in 6/4 chords

  • No parallel fifths or eights

  • Spacing

Scoring

• Common errors and how to avoid them

  • Omitting the accidental

  • Spelling the chord incorrectly (not putting the sharp sign)

  • Omitting the root

  • Parallel fifths between the bass and tenor

• When V7 goes to I or i, if the V7 has all four members, then the tonic chord will have three roots, one third, and no fifth.

  • If the V7 is not complete, then that will lead you to a complete tonic triad.

• Leading-tone chords will have three resolution tones.