- Wherever
possible use contrary motion between the treble and bass
- Major
chords should contain the root and the third, the fifth can sometimes
be omitted
- Sequences
of chords whose roots are a 5th apart (upwards), or a 4th apart (downwards)
produce strong chord progressions
- In chords
built from diminished triads, you must double the third of the triad
- You may
double the third in a minor triad
|
- It is
usually best not to double the third of a major triad
- It is
undesirable to bunch notes in the lower register
- Be wary
of progressions between chords whose roots are consecutive in the scale
- Avoid
writing parts which move in parallel octaves or fifths
- In general
it is better to be wary of progressions between chords whose roots are
consecutive in the scale
- Do not
exceed an octave between alto and soprano
|