Music 160 FAQ

*** From Wednesday, 20 October ***

Q: Why would we group 16th notes in threes?
A: If the beat unit were a dotted-eighth note.

Q: Are we allowed to use the computer lab at any time?
A: The Dalton Computer lab is available for open use most days after 4:00 pm. Before this time it is only available for classes, faculty and staff. Don't ask someone if they can let you in to the lab during the middle of the day. They aren't allowed to and could get in trouble if they let you. There are other computer labs open on campus during the day.

Q: Do you know how old Sesame Street is?
A: Yes. I remembering viewing the very first episode.

Q: Is there a reason you seem to get upset about C being called "common time."
A: I am not terribly upset about it being called "common time" (although I do think this is a biased statement to assert that meters which are not 4/4 are uncommon). My point was that most people think that we use 'C' for 4/4 BECAUSE it is an abbreviation for "common time". This is backwards. Once upon a time, there was a time signature notation which used circles and half-circles with dots and lines. The half-circle remained in use after the switch to integer time signatures. Because a half-circle resembles a C, this became associated with "C" for "Common". It is often the case that by not knowing the proper origins of something, we reverse cause and effect. This usually leads to further misinterpretations and distortions.

Q: How many notes can you beam together?
A: As many as will fit inside a single beat.

Q: Can you assume that the denominator in compound time relates to the division of the beat, and in simple time it relates to the beat?
A: Usually. There are some instances in which an apparent simple time signature is actually employed for a compound meter (e.g., a very fast 3/8 as single-compound) or vice versa (e.g., a very slow 6/4 as sextuple simple). This confusion would not take place if you were using the notehead denominator system. In the above example, the triple simple interpretation would be notated with a 3 on top and an eighth note on the bottom. The single compound interpretation with a 1 on top and a dotted-quarter on the bottom. Like wise a 6/4 which was duple compound would be notated with a 2 on top and a dotted-half on the bottom. If this were sextuple simple it would be notated with a 6 on top and a quarter note on the bottom.

Q: I think the current time signature system is fine. One could just as easily say that the sijple time notation is "wrong". As long as one knows the system and others can interpret in correctly, any system would work. It may not be the best form, but it would still function.
A: True. We could use the marshmallows in a box of Lucky Charms to represent time signatures if everybody agreed upon it and understood how it worked. However, the problem with conventional integer time signatures is that many people *think* they know the system (but don't) and intrepret it incorrectly. Because the system is inherently misleading, it makes it much easier for misunderstanding to take place. Why should there have to be an extra secret to correctly interpret compound time signatures? Why should we make it more complicated than is necessary?

Q: Who invented the time signature system where you place the notehead on the tonic of the key?
A: Jean-Phillipe Rameau (1683-1764).

Q: If someone wrote in 12/16 and split the measure into 3 groups of 4 sixteenth notes each, would this be considered wrong?
A: Yes. This would be the proper beaming for a measure of 3/4, not 12/16 (which is really 4 / dotted quarter).

Q: Why are we spending so much time a time signatures?
A: It is assumed that we don't need to teach time signatures to adult musicians because they (we) already learned it as kids. As kids, however, most of us learned it wrong.

Q: Why do we use 1-la-li here instead of 1-and-a like I learned before. It seems to me that it is more confusing?
A: If you haven't already, I would suggest you read the hot pink packet you have for Aural Comp. There are two problems I have with 1-and-a. First, most people who use 1-and-a to count rhythms in compound time do not have syllables for rhythms based on the 2nd division of the beat (e.g., dividing a dotted-quarter into 6 sixteenth notes). Second, most people who use 1-and-a for compound time also use 1-ee-and-a for simple time. This produces a problem in confusing, for example, an eighth and 2 sixteenths with triplets.

Q: I still don't understand. How do I tell whether something is compound or simple?
A: If you are listening to the music, listen for how the beat subdivides. If the rhythms mostly divide the beat into 2 parts, it is simple; into 3 parts it is compound. If you are looking at notated rhythms, look for how the divisions are beamed together to determine whether it is a plain (simple) or dotted (compound) beat unit. If you are looking at integer time signatures, compound time signatures have a multiple of three as the top number: 6, 9, 12, 15.

Q: How do you describe a run of 7 or 11 notes that occur in one beat? It doesn't seem to fit into either simple or compound.
A: I have never heard a piece which consistently employed a beat division of 7 or 11, thus we don't need to invent a new type of beat unit classification for these. I have heard pieces (in both simple and compound time) which occasionally employ these irregular beat divisions for individual beats. That is why we have triplets, quintuplets, septuplets, etc..

Q: It seems like everyone is being a "yes man" and agrees with others' opinions of the past musicians: their works are great. Is there anyone who criticizes these works?
A: There are lots of people who criticize works of the past (including me). I hope you will develop critical skills and apply them as well. It is important to understand something first, so that your criticism can be valid and informed.


*** From Monday, 18 October ***

Q: Could you post all of the music which was played today? What are the tapes and CDs?
A: Most of the music which I played for the meter demonstration is from my private collection and is no longer available on commercial recordings. Here is what we heard:
Bhangra, Pakistan, multiple meters
Carnavalito, Bolivia, Duple Simple
Wandering Waltz, Brittish Isles, Triple Simple
Legdekallens Halling, Norway, Duple Compound (Heilo CD 7149)
Sepastia Bar, Armenia, Quadruple Simple
To Ting, Denmark, Triple Simple and Duple Compound (alternating sections)
Waltz, Curacao, Triple Simple & Duple Compound (at same time)
Strumicka Petorka, Bulgaria, Duple Asymmetrical (2 beats, quarter + dotted-quarter)
Valdres Springar, Norway, Triple Asymmetrical Non-divisible (unequal beats and divisions) (Peg-CD 698)

Q: You have such a broad array of music. Where did you ever get it all?
A: I love music and have been broadening my array all of my life. There is not one place from where I got it all. My collection has grown gradually. Much of what I played today are from folk dances which I learned in college in a recreational international folk dance group. They are tapes from old LPs.

Q: Sometimes I can't distinguish between duple and quadruple. How should I?
A: Duple time should have a clear pattern of strong-weak-strong-weak-strong-weak. Quadruple time usually has a beat pattern more like STRONG-weak-strongish-weak-STRONG-weak-strongish-weak

Q: Does the modern beat notational system improve the notation of asymmetric rhythms?
A: If by "the modern" you are referring to the notehead-denominator system, yes it improves the representation of asymmetrical meters, but it does not solve everything. Check out UNIT 13 in your Rhythm & Pitch book (used for Aural Comp.)
Q: If the beats and divisions are different lengths, how do you classify the meter?
A: You can not classify it properly with the system commonly used for 'Western' meters. You need a more comprehensive classification system.

Q: What are the three levels of rhythm to listen for?
A: First of all, it is not the rhythm, but the meter to which we are listening right now. The three levels are the measure (grouping of beats), the beat, and the division of the beat.

Q: My mother has always told me parallel 4ths were not acceptable since they are inverted 5ths. Have I been misled?
A: I don't know exactly in what context your mother told you this. There is a type of counterpoint called "invertible counterpoint" in which the melody in the soprano trades places with them melody in the bass. In this situation, you should avoid parallel 4ths because they will turn into 5ths when parts get switched. In any case, even when parallel 4ths are allowed, they don't sound as nice as parallel 3rds or 6ths.

Q: I am curious as to why we are discussing rhythm after harmonization?
A: First, I didn't want to spend the first month reviewing rudiments before getting to new material. Second, I thought it would be a good break to allow time for harmonization and voice-leading to sink in.

Q: What would happen if time signatures were written with notes on the bottom instead of the regular numbers which we use?
A: Some people do write time signatures with note-head denominators. Look at the music of Carl Orff, for example. If everyone did, we would have a much better feeling how to play meters.

Q: Why isn't meter the same as time signature?
A: Meter is an aural phenomena. It is the perception of patterns of stresses underlying the rhythms of a piece of music. Time signatures are written signs, symbols. They represent meters but can not always be taken literally.

Q: What about a time signature like 2.5 / 4 ?
A: There are a some 20th century compositions with fractional time signatures. You may learn about them in Mus 261.

Q: What was your focus while on sabbatical?
A: I was primarily studying the work of a Norwegian composer, scholar, and folk musician named Eivind Groven. You can read more about it at: http://vms.cc.wmich.edu/~code/groven
Q: Would a rhythm of eighth notes grouped 3 + 3 + 2 be better in 4/4 or 8/8 time?
A: This would probably be heard as an asymmetrical meter with three beats. Using conventional time signatures, 8/8 would be best.

Q: If rhythms are found by listening, how can a person be wrong? It is their opinion.
A: While there are sometimes more than one correct answer, there can still be many wrong answers. It might be possible to intrepret a waltz as either triple simple time or single compound (or perhaps even duple compound if you grouped every two measures together) depending on which level metric organization you focus. Depending on which interpretation you chose, you would notate the music differently (to achieve the appropriate effect from the performers). On the other hand it would be wrong to claim it is quadruple simple however.


*** From Wed., 13 October ***

Q: Why is it that the inversion symbol only really refers to the bass? Given this, why not use the jazz/pop notation C/E instead of I6?
A: First of all, the use of Arabic numerals to indicate inversion comes from a more comprehensive system called figured bass, which evolved indepent of Roman numeral analysis. While (right now) we mostly only use these figures to indicate the inversion (i.e., which chord member is in the bass), they can be used to indicate much more detailed information about the voicing of other parts as well. For example, in the homework (p.67) there is a figured bass in the last example which indicates a change of chord over a steady bass note: 53 6- . Although it is harder to see in this typed version, these figures are also indcating voice-leading instructions. The voice part containing the 5th above the bass will move stepwise up to a sixth (5 6). The voice part containing the 3rd will remain as a common tone (3 - ).
For the second part of your question. The pop chord notation C/E means to play a C major chord with an E in the bass, in other words, in 1st inversion. If this is all the information you want or need to convey, this notation is very clear and understandable. What this description does not indicate is the harmonic function of the chord. In other words, what relationship does this C major chord have to do with the key? The Roman numeral notation is meant to emphasize the harmonic function. Is it I6 in C Major? V6 in F Major? III6 in A minor? etc. This not only effects how the chord fits in the progression, but (for example) what kind of doubling it should have. You might also ask why not use a compromise notation like V/E instead of C/E or V6. The use of the slash with Roman numerals has its own meaning which in this case implies a V chord borrowed from the key of E Major.

Q: Will having the third in the bottom of a chord ever change the sound so much it would be an awkard sound?
A: In some contexts an inverted chord may not sound as good as the same chord in root position.

Q: How old are your kids?
A: 6 and 9.

Q: Do you always try to double the 3rd in a diminished chord?
A: Always try.

Q: Are we expected to start working on our composition project on our own or are you going to talk about it first?
A: I will talk about it first.

Q: Are there any cases where the best doubling doesn't work and we need to use a worse doubling in order to avoid a voice leading error?
A: Yes.

Q: Which student am I?
A: The one sitting over there.

Q: What are five melody errors which can happen when writing a melodic line.
A: Augmented intervals, consecutive leaps in the same direction do not form a triad, leaps larger than a P4 not approached and resolved in the opposite direction, Ti doesn't resolve to Do, no single focal (high) point, diminished interval doesn't resolve stepwise in opposite direction, melody out of range, melody doesn't match harmony

Q: Why don't we use 7th chords yet?
A: We can't learn everything at the same time. Historically, 7th chords evolved out of the use of dissonances in triad writing.

Q: Are there any chords which should stay in 1st inversion at all times?
A: No, but dimished chords come close.

Q: Is there ever a case when you use 4 roots inthe last chord to avoid voice leading errors?
A: No.

Q: What does "to harmonize a line" mean?
A: To select a chord progression that fits with the notes of a given melody.

Q: On the last test, was there only one correct answer for each multiple choice question?
A: Yes.

Q: Is the doubling pattern the same for chords in second inversion?
A: No.

Q: Will we be getting into anything larger than 4-part this semester?
A: No

Q: What was the music you played this morning? Where can I get it?
A: The whistling song was a tape of postal workers in Ghana canceling stamps on letters. It is part of the music which accompanies at text book called "Worlds of Music" (Jeff Titon, editor).

Q: Are parallel 4ths acceptable?
A: Yes.

*** From Monday, 11 October ***

Q: You mentioned in lecture the preferred doubling for chords in inversion. Is it wrong then if we don't use those preferred doublings?
A: It is not wrong to use alternate doublings in a given individual chord. It is wrong to consistently use alternate doublings for a number of chords.

Q: Is it best not to double the leading tone (TI) in all chords?
A: Yes.

Q: Would using first inversion chords also help keeping the progression free from voice leading errors?
A: Yes. Substituting a 1st inversion chord can sometimes eliminate a voice leading error.

Q: Does a change in the bass always result in a complete change in the chord quality (or name)?
A: A change of bass does not change the quality or name of the chord. It changes the position of the chord (inversion).

Q: Is there a way to invert a chord without changing the bass?
A: No. You can change the voicing of a chord without changing the bass, but this is not an inversion.

Q: Do 1st inversion chords change the chord chart on p. 116?
A: No.

Q: Why not study cadences before chord progressions?
A: Because harmonic cadences are created using chord progressions.

Q: Are we going to have the same book next semester?
A: Yes.

Q: Has anyone ever written a mathematical analysis of chords, harmonizations, and tonal relationships.
A: There are several ways that I might interpret your question. The answer to all of them is yes.

Q: Could you quickly explain the LE and ME for minor again?
A: A natural minor scale in solfege is: DO RE ME FA SO LE TE DO
Melodic Minor: DO RE ME FA SO LA TI DO TE LE SO FA ME RE DO.

Q: Do we stay in a pattern with the same instructors and times for all of the levels of theory?
A: No. Next semester (Winter 2000) there is only one section of Mus 161. It is at 8:00 am. The instructor is Code. The Fall 2000 schedule has not been set yet. Typically there are at least 3 different sections of Mus 260 meeting at different times with different instructors. It is possible I will be teaching it. It is possible that one of the times will be 8:00. It is not likely, however, that I will be teaching an 8:00 section.

Q: In bass arpeggiation, what chord tone do we start on?
A: It varies.

Q: Can you explain the choices on the percentages of the midterm and the final and how and when we hav eto make those decisions?
A: You have a limited choice in the percentages (see the orange syllabus). One day near the end of the semester, I will ask everyone to turn in a slip of paper with their choice. You don't need to do anything until then.

Q: So you can have two chords in a row if one is in first inversion?
A: You can have two of the same chords in a row anyway, but it sounds more active if you change the inversion.

Q: What scale mode has a major sound with a lowered 7th?
A: Mixolydian mode.

*** From Wed, 6 October ***

Q: What is a "musical reason" to cross alto and tenor?
A: One example might be if there is a specific melodic motive which is used throughout the piece as a unifying device. Perhaps parts might cross in order to preserve that motive in a particular part.

Q: Why were there so many rules in this era of composing?
A: Studied from the outside, there are just as many compositional norms and taboos in virtually all eras and musical styles.

Q: If I can't double the root, which note is better for doubling--3rd or 5th?
A: For the present time, the only chord in which you can't couble the root is vii o . In this chord, double the 3rd.

Q: Is it possible to test out of the computer lab sections?
A: It is. Please see Bill Jones.

Q: Parallel 5ths and 8ves can happen with any voice part, right?
A: Parallel 5ths and 8ves should not happen between any pair of voice parts.

Q: Can 8ves go to 5ths?
A: Most of the time, yes. The only situation in which they are unacceptable is if they form hidden 5ths in the outer voices with a leap in the soprano.

Comment: Jeopardy helped a lot in reviewing for the midterm.
Comment: Jeopardy was not helpful in reviewing for the midterm.
Response: With 60 people in the class, there will always be such differences of opinion. People have different learning styles. Therefore, if you are ever dissatisfied with how something is taught in class, by all means let me know, but also keep in mind that there are almost certainly others in the class who are benefitting from it. I would be a poor teacher if I only taught one way. This, however, means that there will likely be some times when I am not teaching your way.

Q: What are the solfege terms used in minor (like Te and Ti)?
A: Look on page 3 of the hot pink packet you use for Mus 162. This information is also available at http://www.wmich.edu/mus-theo/etg/sol.html

Q: Why is it acceptable to go from a vi to a V?
A: It is like an abbreviated version of the sequence of 5ths progression: vi - ii - V


*** From Mon, 4 October ***

Q: Is it necessary to memorize chord progressions?
A: Yes.

Q: On pg.118, Ex.7-22, m.2, there is a P8 to P5 in the outer voices. Is this OK?
A: Yes.

Q: Why did you put sharps on the notes for the key of D minor?
A: In minor keys you must add accidentals to the 7th scale degree in V and vii o chords.

Q: We aren't going to have toolearn a new style and set of rules in this course are we?
A: We will be gradually adding to and expanding upon what we are learning.

Q: There are many options that could be used in filling in alto and tenor parts, right? Is there a right and a wrong way or just a good and a better?
A: Right. There are usually a few acceptable ways, some better than others, and many unacceptable ways.

Q: When looking for Parallel 5ths & 8ves, which voices in 4-part writing do we check?
A: Every pair of voices (for Parallel 5ths and 8ves). Only outer voices for hidden or direct.

Q: If this process of writing everything out works, how long will it take on a test?
A: You should have enough time.

Q: What is a suspension?
A: It is a type of non-chord tone. We will learn about them later.

Q: Ska du resa till Norge snart?
A: Nei da, vi h'per ' reise tilbake om sommeren.

Q: If you have two chords in row, the bass and soprano parts remain the same but the inside voices should vary?
A: Best if all of the upper voices vary (including soprano).

Q: Are you able to use chords which aren't natural in the key, such as augmented chords?
A: We will gradually add more chords to our vocabulary. For now, stick to the normal diatonic chords only.

Q: Does it usually take a long time to do theory homework?
A: It can, espcially right now. There are a lot of things you must consider and pay attention to right now. As you get more familiar with them, it will go quicker.

Q: I still don't understand how a vii o chord can do the same thing as a V chord.
A: The leading-tone triad has a similar function to the V chord because it shares the common tones TI and RE which lead strongly into the I chord.

Q: What is on the midterm?
A: The midterm exam will focus on material since the first quiz: diatonic chords (Roman numerals), 4-part voice leading, and harmonic progressions. Of course, you will need to know intervals, scales, key signatures, triads, etc.. You can expect *some* of the questions to be similar in format to homework problems and/or the last test. You should expect some questions to be present these same materials in a new context.


Q: Why can't you start with a V chord?
A: You can. Especially if the piece starts on an upbeat.

Q: Is the chord chart going to be on the exam?
A: The actual physical chart will not be printed on your exam.


*** From Wed, 29 September ***

If we follow spacing and melodic rules to begin with, won't all of these chord progressions fall in place?
No, the voice-leading may 'fall into place', but this does not effect the chord progressions themselves. The progression of chords is concerned with the order of which chord follows another (e.g., I -> IV -> V -> etc.).

Why is it better to omit the 5th rather than the 3rd?
The 3rd is important because it defines the quality of the triad (Major or minor). Also, if the 5th is missing, it is not very noticeable to the ear because it is usually present as a strong overtone in the timbre of the note sounding the root. (The root can't be omitted, of course, because than it wouldn't be the same chord.)

Do you have kids? How old?
Yes. 8 and 6.

Does this mean one chord can only move to certain chords?
In a given style, yes.

What exactly are common tones?
If two consecutive chords share any of the same pitches in common, these are called common tones. For example, a D Maj chord and an F# minor chord share two common tones (F# and A).

In a harmonic progression, does it matter what interval is used in relation to the tonic (e.g., I to vi is down a 3rd or up a 6th)?
The direction does not effect the function of the progression. It obviously effects the melodic lines and linear motion.

Why is the mediant (iii) so rarely used? I though since it shares common tones with V and I it could be used a little more often?
My answer is this: it (iii) has too much in common with both chords. Although it has almost the same tones as V, the mediant does not function well as a dominant-type chord because dominants like to lead to the tonic, and the mediant is already 2/3rds of the way there. Although it has almost the same tones as I, the mediant does not function well as a tonic-substitute, because it has TI, the leading tone.

Do you have any formal/informal training for playing "strange" non-orchestral instruments?
Just because an instrument isn't used in a standard Western symphony orchestra doesn't make it strange. I have a played a variety of instruments from different countries, sometimes at workshops. I have studied Norwegian folk instruments more extensively, including the hardingfele, seljefløyte and munnharpe.

If a scale is built from consecutive 5ths, why will the 4th always be sharped when you take the 5ths all in a row (e.g., G-D-A-E-B-F#-C# becomes G A B C# D E F# G)?
All diatonic scales are built from a series of seven consecutive P5. However, the specific mode of the scale (major, minor, dorian, etc.) depends on which note you start on. The above collection will form a major scale if you arrange the pitches starting on D. The G scale with the raised 4th is a G lydian scale..

Is it always so incredibly cold in Dalton?
No, sometimes it is incredibly hot. The AC and heating are turned on and off by the calendar, not the weather. AC will be turned off Oct. 15.

Does the composer Bach fit into this time period of music?
Yes. Bach's 4-part chorales are the best examples of the style which we are learning.

Why is music theory called "theory"?
Theory as opposed to practice. Theory is the general or abstract principles of any body of facts. We are not studying one specific piece of music, but the general principles, the language, of a large group of pieces and possible pieces.

Why are we not studying 7th chords?
We can't study everything at once. Proper handling of 7th chords requires knowledge of everything we are learning about triads plus some more things on top of that. We will get to it later.


*** From Mon, 27 September ***

Who was that playing Caravan?
That was my brother's band, the Reptile Palace Orchestra: http://www.omnium.com/rpo/index.html

Is the bottom note in a triad always the note that is used for figuring out Roman numerals.
The ROOT of a triad is used to determine the Roman numeral in a given key. This is not always the bottom note in the BASS, only in root position are these the same.

Have you ever thought about having class later in the day? Look around, everyone is asleep!
First of all, I do not decide what times classes are offered. The administration sets class schedules. I am a teacher because I like teaching. I teach at 8:00 am because it is my job. It doesn't matter if I am tired or not. If you are enrolled in this class, it is your job too. You chose to take this course: either because you are interested in the topic or because it is a requirement for a degree that you *want* to have. If being a music major is a lower priority for you than your desire to stay-up late or sleep-in late, then don't take this course. It is your education and your choice.

I don't quite understand what you meant by root movement between a 5th, 3rd, or 2nd?
This refers to the interval between the roots of the chords. Movement from a G major chord to a b minor chord (or vice versa) is an example of root movement of a 3rd, because G to B is a major third.

How long does it take to get a doctorate?
This can very considerably depending on the school, the degree, and the person. To get a doctorate you must first complete a bachelor's and a master's degree (which combined might take 5-8 years). After this a doctorate may take an additional 3 to 7 years.

Is there an easy way to remember all of the things that can go right or wrong in a melody?
Practice. The more practice you have applying these guidelines, the more second nature they become.

When you move between chords (for example I to V) do the rules for counterpart still apply, or is this a whole new set of rules?
While there are some differences in 3 and 4 part writing. Everything we are doing is based on the same guidelines as 2-part counterpoint.

Why do we leave out some of the numbers in figured bass?
It is just a shorthand.

In chapter 5, I noticed the use of small dashes underneath certain notes. What is it for?
This is a figured bass symbol that indicates that the previous chord continues on this beat.

Why don't we stop using figured bass symbols and use jazz/pop symbols (like C/E) instead?
Different symbols convey different kinds of information. Jazz/pop chord symbols do not, for example, show the relation of a chord to the key (as do Roman numerals). Also, figured bass symbols can be used to specify very specific voice-leading that jazz/pop symbols can not.

What is the need for both Arabic and Roman numerals? It seems they overlap function.
The function of Roman numerals is to indicate the root and quality of a chord in relation to the key. The function of Arabic numerals is to indicate the position or voicing of a chord.

How often is 64 notation used in regular writing.
Second inversion chords (which use 64) are used very sparingly. Maybe only 5% of the chords we will be writing in 4-part chorales will be in 2nd inversion. More on this later.

There was no paper on last Monday. May I use my own paper?
Yes.

Don't the rules of voice overlap restrict the movement of the lines.
Yes. Sidewalks restrict the movements of pedestrians, but there are still lots of different ways to walk to someplace.

Are hidden octaves only applicable between the soprano and bass notes?
The only objectionable hidden octaves occur between sop. and bass when there is a leap in the soprano.

** FROM WED, 22 SEPTEMBER **

What was the name of the piece played today?
Ajsino Oro. It is an Albanian folk dance.

We did not cover inversions in lecture, but we have homework on it.
Sorry. My mistake. For now, you only need the Roman numerals (don't worry about inversions).

Should contrary 5ths and 8ves be avoided in all voices?
Yes

Can the alto and tenor lines cross?
No. Not in your part-writing compositions.

Are we to use LE to label augmented intervals?
No. LE is the solfege syllable for a note which is a minor 6th above DO.

Can the bass be as far apart fro the other 3 parts as you want?
Yes, provided it does not go outside its range.

With open structure, does it have to follow the spacing rule?
Yes

The book says that voice crossing is allowed between alto and tenor if there is a musical reason to do so. Is this incorrect?
Exceptions occur for exceptional reasons. We are learning the normal guidelines for a particular musical style.
For now, you should not use any voice crossing. You must have a thorough working knowledge
of what is normal before you can know what is musically exceptional enough to justify an exception.

Is the computer lab in addition to our regular lab?
Yes.

A stupid question, but just to clarify. In a diatonic triad, do all of the notes have to be a part of the diatonic scale or just the root?
All of the notes. (And it was not a stupid question.)

Is TI called the subtonic in every form of the minor scale?
TI is never the subtonic. TE is the subtonic. TI is always called the leading tone no matter what the scale is.

When is it OK to use the III+ triad? I thought that the mediant was always augmented in minor.
A III+ chord appears very rarely when there is a melodic reason to justify TI instead of TE.

Why do we need the diatonic triads in minor? Why don't we just use the plain major scale?
Why do we need red and yellow? Why don't we just use blue?

In a minor key, why is the subdominant major and not augmented?
The subdominant is minor (iv).

Why do we need to be able to identify open and close structure?
Because they have a different musical effect in the part writing.

What is voice-leading, exactly.
Voice leading is the way in which individual melodic lines unfold and relate to other melodic line.

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School of Music, Western Michigan University,
Kalamazoo, MI 49008-3831
code@wmich.edu

http://www.wmich.edu/mus-theo/courses/m160_FAQ.html
Revised: 22 October 1999