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10-2  PART WRITING THE MEDIANT TRIAD

5. Part Writing iii vi.

a. Keep the common tone in the same voice and move the other voices stepwise (Figure 10-10).

Figure 10-10. Common Tone/Stepwise Motion, iii vi

b. The following is the scale pattern for connecting the iii chord to the vi chord.

6. Part Writing iii IV.

a. Move all three upper voices to the nearest chord tone in contrary motion to the bass voice (Figure 10-11).

Figure 10-11. Contrary Motion to Bass, iii IV

b. The following is the scale pattern for connecting the iii chord to the IV chord.

NOTE: When the bass voice moves by stepwise motion, care must be taken to avoid parallel perfect fifths or octaves (Figure 10-12).

Figure 10-12. Avoided Motion, iii IV

7. Part Writing iii V.

a. Keep the common tones and move the other voice stepwise (Figure 10-13).

Figure 10-13. Two Common Tones/Stepwise Motion, iii V

b. The following is the scale pattern for connecting the iii chord to the V chord.

8. Part Writing I iii.

a. Keep the two common tones and move the other voice stepwise (Figure 10-14).

Figure 10-14. Two Common Tones/Stepwise Motion, I iii

b. The following is the scale pattern for connecting the I chord to the iii chord.

9. Part writing vi iii.

a. Keep the common tone and move the other voices stepwise (Figure 10-15).

Figure 10-15. Common Tone/Stepwise Motion, vi iii

b. The following is the scale pattern for connecting the vi chord to the iii chord.

SELF REVIEW EXERCISE 10-2

Write the missing voices in the following progressions (Figure 10-16).

Figure 10-16. Chord Progression Part Writing, iii

 

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Answer Key

10. Augmented Mediant Triad (III+).

The augmented mediant triad is built on the harmonic minor and the ascending melodic minor scales. This triad is not frequently used. The augmented mediant triad occurs most often in first inversion with the third (dominant scale degree) doubled. It can also occur in root position with the root (mediant scale degree) doubled. Since the augmented mediant triad and the dominant triad have two common tones, the augmented mediant triad can have a dominant function. It normally progresses to the submediant triad (Figure 10-17).

Figure 10-17. III+6 VI Progression

NOTE: In minor, the first inversion of the augmented mediant triad can substitute for a dominant triad. The dominant scale degree is the bass note and is also the doubled note. The leading tone (fifth of the mediant triad) is an active tone and tends to pull to the stable tonic scale degree.

David L. Heiserman, Editor

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Revised: June 06, 2015