FINAL ENTRY

COMPOSITION


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ENTRY 8 Figured Bass and Lead-Sheet Symbols * Triads can be arranged in three positions   and these are called root position, first inversion and second inversion. These inversions can be identified in figured bass and lead-sheet with the use of various symbols. * Having a triad in root position, the root note is in the bass, for example, the C major triad, in root position the C would be the bass note with E and G above it. This is made up of a major third and a perfect fifth from the bass note. The symbol used in  this inversion for figured bass is 5/3 and the lead-sheet, a capital C .   * The first inversion would have the third degree of the triad in the bass, for example, using C major E would be in the bass with G and C  above it. This is made up with a minor third and a minor sixth from the bass note. In this inversion, the figured bass used 6 or 6/3 and the lead-sheet used C/E. * In the second inversion, the fifth degree of the triad is in the bass with ...
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 ENTRY 5 FROM SPECIES TO CHORALE STYLE SOPRANO & BASS LINES * The composition of a soprano and bass lines chorale-style has the characteristic of other species involved, along with embellishment added to the melody allowing it to be more attractive.  SOPRANO & BASS LINES CHORALE-STYLE * The cantus-firmus normally uses semibreve notes to establish the bass part of the melody, this and the other voices is now set-up like a fifty species counterpoint, and it still continues to carry the bass line for the melody.  THIS IS HOW A BASSLINE WOULD LOOK * Passing tones, neighbour tones and consonant skips are all used in the chorale style soprano and bass lines melodies.  PASSING TONES      NEIGHBOUR TONES   CONSONANT SKIP * There are three kinds of passing tones, the dissonant that is either accented or unaccent and the consonant passing tone. These passing tones are commonly found in chord suspensions. Unaccented passing tone * As in str...
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