Root Position Chord Movements in Seconds

Chords that are a second apart share no common tones.

Doubling

The bass voice should be doubled in root position whenever possible to provide the most harmonic stability. If the bass cannot be double for a valid harmonic reason, doubling the third of the chord is the next most desirable option, unless it is the leading tone.

Movement

Since the two chords do not share any common tones, move the three upper voices in contrary motion to the bass voice.

If you are presented with a voice that moves in parallel motion with the bass (notice the leading tone resolution in the 3rd and 4th figures below), move the inner voices in contrary motion and double either the root or third of the second chord.

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Suspensions in Root Position

Both the 4-3 and 9-8 suspensions occur in root position chords whose roots are either a fifth or a second apart. The rule to keep in mind is: the voice leading and doubling of a chord containing a suspension should be the same as if the suspension did not occur.

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Abridged Part Writing Guidelines

1. Stay within the range.
2. Favor stepwise motion.
3. Avoid melodic A2, A4, d5.
4. No more than an octave between S+A, A+T.
5. If the bass voice is below C3, place the tenor above E3.
6. Avoid consecutive P5 and P8.
7. Double the bass note unless it is a sensitive chord tone.
8. Move soprano and bass voices in contrary or oblique motion.
9. Retain common tones.