ROOT PO­SI­TION TRI­ADS EX­AM­PLES

Guitar Techniques - - Play: Theory -

Voic­ing and spac­ing. Although the ranges cross, it is rare for the voices them­selves to ac­tu­ally cross within a pas­sage of tra­di­tional four-par t writ­ing. Par tic­u­larly, ex­am­ples of Tenor drop­ping below Bass, or Alto ex­ceed­ing So­prano, are ex­tremely rare. They can dou­ble, how­ever – that is to say, sing the same note. In terms of spac­ing, there should not be a gap of greater than an oc­tave be­tween So­prano and Alto, and be­tween Alto and Tenor (the ex­cep­tion is the gap be­tween Bass and Tenor, where the gap can be con­sid­er­ably wider). Here are some rep­re­sen­ta­tive voic­ings of C ma­jor and A mi­nor. Note that as tri­ads have three notes, and we are us­ing four voices, a chord de­gree (the root, 3rd or 5th) will have to dou­ble. The most com­mon so­lu­tion is to dou­ble the root (although as we’ll see later, the 5th is of ten dou­bled in a sec­ond in­ver­sion voic­ing) in the bass and then higher up.

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