1. The 5th of the triad is often omitted. The final I chord may consist only of a tripled root.
ˆ is almost
2. An incomplete triad will usually have the root doubled. The leading tone (7)
never doubled.
When a root position triad is repeated, the upper voices may be arpeggiated freely, as
long as the spacing conventions are followed (review*discussion of voicing a single triad
KÖK HALİNDEKİ BEŞLİ AKORLARIN
BAĞLANTI
KURALLARI
pp. 70–71). The bass
may arpeggiate
an octave. Example 6-1 illustrates appropriate par
writing for repeated roots.
Bu akor bağlantılarını, bas partisindeki hareketin oluşturduğu aralığa göre dört kategori altında
inceleyebiliriz:
I.
İKİ AKORUN KÖK SESİNİN AYNI
OLDUĞU
Example
6-1 DURUMLAR (AKOR TEKRARI)
Bu durumda pozisyon değişikliği yapılır:
88
II.
ð ðð ðð
Chapter Six
Š ðð ðð ððRoot ððPosition ððPart Writing
ð
ð ðð chord ððtone ð(Ex. 6-8a),
ð whereas
ð ifðthe bass moves down by step, the
down to the
nearest
Ý
upper voices move up to the nearest
ð chord tone (Ex. 6-8b). ð
four parts
three parts
!
İKİ AKORUN KÖK SESLERİ ARASINDA 2’Lİ ARALIK OLDUĞU DURUMLAR
Example 6-8
Bir başka deyişle, bas partisi basamaksal olarak hareket eder. Bu durumda üst partiler basa göre ters
hareket ederler:
Self-Testb 6-1 Using repeated roots
a
86
ðð 568.)ðð
Š ðð (Answersðð begin on page
Test your understanding of the
section by fi lling in the inner voice or voices in
ðð Thpreceding
ð
ð
ð
ð
the
second
chord
of
each
pair.
e
key
is
C
major throughout.
Chapter
Six
Root
Position
Part
Writing
ð
Ýð
!
ð
Root Position Part Writing
ð ðð ð
ðð Roots
Š ðð ð with
ðð a 3rd
(6th) Apart
four parts
ðð ð
“Kırık kadans” olarak adlandırılan V-VI bağlantısında genellikle yeden sesinin diğer partilerin aksine
bas partisine paralel hareket etmesi tercih edilir (örnek a ve b). Sadece majör tonlarda, eğer yeden sesi
The progression
V–viyer
(or alıyorsa
V–VI) isbu
known
the partilerle
deceptiveberaber
progression,
ara partilerden birinde (alto veya
tenor partisinde)
ses deas
diğer
inebilirfor reasons that
will
become
clear
in
the
next
chapter.
In
terms
of
voice
leading,
deceptive
(örnek c). Fakat bu minör tonlarda yapılamaz, aksi halde yeden sesi ile tonun 6. derece sesi arasında +2 progressions
present
some
special
problems.
most
cases the
leading
(7ˆ) moves
with
the
aralığı oluşur (örnek d).
Th
e voice
leading
that
involvesIn
root
position
triads
a 3rdtone
or 6th
apart parallel
is usually
quite
ˆ1), whereas the other two voices move down, contrary to the
bass,
resolving
up
to
tonic
(
smooth because the two triads will always have two pitch classes in common.
bass, to the next available chord tones. This results in a doubled 3rd in the vi (or VI) chord,
as in Example 6-9a and b. In the major mode, if the leading tone is in an inner voice, it may
as TinUExample
Fmove
O Udown
R - P by
A Rstep
T to
T 6ˆE, X
R E S 6-9c, because the lack of resolution is not so apparent to the ear. This is not acceptable in the minor mode, however, because of the awkward
Two
common
tones
stepwise.
Assuming
that the first of the two root position triads
interval
of a !2
that and
results,
as in Example
6-9d.
has a doubled root, only one of the upper voices will need to move. The two upper voices
that have tones in common with the second chord remain stationary, whereas the remainkos25141_Ch06_081-094.indd 82
ing voice moves by step. The stepwise motion will be upward for roots a descending 3rd
apart
(Ex. 6-6a)
and downward for roots an ascending 3rd apart (Ex. 6-6b).
Example
6-9
!
ð
Ýð ð
ð
ð ð
ðð ð
ð ð
ð
ðð ð
III. İKİ AKORUN KÖK SESLERİ ARASINDA 3’LÜ YA DA 6’LI ARALIK OLDUĞU
DURUMLAR
6-6iki ortak ses aynı partilerde tutularak diğer ses
Bu akorların arasında iki ortak Example
ses vardır. Bu
basamaksal olarak hareket ettirilir:
The voice leading away from a triad with a doubled 3rd must be handled carefully because
the conventions discussed in this chapter all assume doubled roots.
Example
6-10 provides two examples of the deceptive progression, one in B ♭ and one
Tinayne, Hg.RInBEyron E - fiPArst
A
Rone,
TTonal T EV–vi
XTU
R E7th S Edition, * Bkz. Stefan Kostka, Dorothy P
♭ , cGraw-­‐Hill, the
the
progression
in BM
the leadingNtone
in an inner voice (the
lmén, Harmony, ew Yis
ork alto),
and
Bach
avoids
resolving
it
to
tonic
(as
in
Ex.
6-9c).
Remember
this is only
pracCommonly encountered part-writing situations are more diverse in that
three-part
textures.
ticable
when
in
major
mode
with
the
leading
tone
in
an
inner
voice.
In
the
V–VI
progresSome possibilities are illustrated in Example 6-7. Especially tricky is the ascending root
sion, where In
thethat
key case,
has shift
to g, Bach
resolves
to tonic,
resulting in a
movement.
youedshould
not omit
thethe
5thleading
of the tone
second
chord
Klasik Armoni I
© Oğuz Usman
1 because the
doubled
3rd
in
the
VI
chord
(as
in
Ex.
6-9b).
listener might assume that the music has progressed only from a root position triad to an
inverted form of the same triad (compare Ex. 6-7c and d with Ex. 6-7e and f).
descending P4). Other principles that must always be kept in mind are those concerning
spacing, parallelism, and the resolution of 7ˆ to ˆ1 when 7ˆ occurs in the melody.
F O U R - PA R T T E X T U R E S
1. Common tone and stepwise. One method for writing this root relationship in four
parts is ARASINDA
to keep in the4’LÜ
same YA
voice
the5’Lİ
toneARALIK
that is common
to both chords, while the
IV. İKİ AKORUN KÖK SESLERİ
DA
OLDUĞU
remaining
two
upper
parts
move
by
step
in
the
same
direction.
The stepwise motion
DURUMLAR
will be ascending for root movement of a P5 down (Ex. 6-2a) and descending for root
Bu akorların arasında bir ortak ses
vardır. I-IV
ve I-V
gibi6-2b).
en temel
da ties
içinde
olduğu
movement
of a P5
up (Ex.
Thebağlantıların
purpose of the
here
and inbusubsequent exkategori için aşağıdaki üç yöntem
uygulanır:
amples
is only to point out the common tones and not to imply that they must be tied.
1.
Ortak ses aynı partide tutulur, diğer sesler aynı yönde basamaksal olarak
hareket ederler.
Example 6-2
En sık kullanılan bağlantı yöntemidir:
a
!
84
2.
Š ðð
ð
Ýð
Chapter SixC:
V
ðð
ð
ð
b
ðð
ðð
ðð
ð
I Root Position
IV Part Writing
I
Bütün partiler
düz hareket
akorun
gider. all three upper parts in the
2. Similar
motionile
by bir
2ndsonraki
or 3rd. A
secondseslerine
method moves
same direction, with no leap larger than a 3rd. The motion will be descending for a root
Ortak
ses aynı6-3
partide tutulmaz. Partilerin düz hareketi sırasında 3’lüden büyük
Example
movement of a P5 down (or a P4 up) and ascending for a root movement of a P5 up (or
atlama yapılmaz:
P4 down). Notice that the leading tone in Example 6-3c does not resolve to 1ˆ but instead
leaps down to 5ˆ. This is perfectly acceptable if it occurs in an inner voice, as it does here.
kos25141_Ch06_081-094.indd 83
5/16/12 6:3
c’deleap,
yeden
sesinin toniğe
çözülmediği
görülür.
Ara partilerde
olduğu
sürece as
3.Örnek
Tertian
common
tone, stepwise.
A third
method,
although not
as smooth
buthe
durum
tamamen
kabul
edilebilirdir.
first two, is useful for changing between close and open structures. As in the first
method, we keep in the same voice the tone that is common to both chords, but the
3. Birinci akorun üçlüsü, ikinci akorun üçlüsüne atlar.
voice that has the 3rd in the first chord leaps to provide the 3rd in the second chord.
The olarak
remaining
voice moves
by step.
Notice
that pozisyonlar
the leading tone
in Example
6-4c does
Ender
kullanılan
bu yöntem,
açık
ve kapalı
arasında
geçiş yapmak
ˆ3. As with
için
kullanışlıdır.
yapan
partinin
partiler
birinci
olduğu acnot
resolve to ˆ1Atlama
but instead
leaps
up todışındaki
Example
6-3c,yöntemde
this is perfectly
gibi
hareketifederler:
ceptable
it occurs in an inner voice.
Example 6-4
Örnek c’de yeden sesinin toniğe çözülmediği görülür. Bir önceki örnekte de olduğu
gibi ara partilerde olduğu sürece bu kullanımda bir sakınca yoktur.
T H R E E - PA R T T E X T U R E S
The more flexible nature of three-part writing makes it impossible to distill a few conventional methods, as was done for four-part textures. Remember that each chord must contain at least a root and 3rd, and observe conventions concerning spacing and parallelism
(Ex. 6-5). Aim for smooth voice leading instead of complete chords.
Klasik Armoni I
Example 6-5
© Oğuz Usman
2
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