3-Part Voice Leading
3-Part Texture Most of the harmony rules we have learned up to now have been based on 4-part, SATB harmony. Music can, of course, be written for any number of …
False (Cross) Relations
False (Cross) Relations A false (or cross) relation occurs when a note is placed in close time proximity to a chromatically altered version of itself, in another part. For example, …
Figured Decoration
From time-to-time unfamiliar figures can appear in figured bass. Most of the time they occur because of decorative notes which are essential to include. Sometimes the figure will include a …
Figure 5
Figure 5 Occasionally you may come across the figure “5” in a figured bass line. Figured bass numbers were originally intended as chord notation for continuo players, who would improvise …
Figure 5/4
The figure 5/4 should be treated like a 4-3 suspension. Of the two numbers in this figure, the 4th is the suspended dissonant note, and the 5th is the 5th …
Suspensions (Figured Bass, 3-Part)
4-3 Suspension The figure 4-3 shows a suspension of a 4th within a root position chord. The 4th then resolves downwards to the 3rd. When you are realising a figured …
Figured Bass (Review)
The following figures were covered at ABRSM Grade 7. Here is a quick review: 7th Chords The figuring of added 7th chords was covered at grade 7, but here’s a …
Identifying Prevailing Key
Identifying the Prevailing Key To work out the prevailing key at any point in a piece of music, remember that chords generally belong to one of three types: These 2 …
Distant Modulation
Distant Modulation During the Baroque and early Classical periods most modulations would be to the dominant, subdominant or relative key. Modulation to these “close” keys is relatively straightforward, because two …
Other Chromatic Chords
Other Chromatic Chords For each degree of the scale, it is possible to build a major, minor, diminished and augmented triad. So, for example in C major, it is possible …