Voice range problem

[rbarata]

It seems I can't write this progression in four-part without crossing any voices.

Sugestions needed.

Thank you

[jancivil]

I suppose you want to avoid parallel fifths as well.

Even so... show us your work. edit: I just don't know what you're experiencing.

[MadBrain]

One trick I've heard you can try is to work backwards (from end to start) but I don't know if it'll help.

[jancivil]

Actually I don't know how you'd even run into crossing, looking a second time at it.
There's just totally plenty of room for four voices.

This is not a difficult exercise. But to sort you, one has to see what you've done.

[zethus909]

huh? the bassline goes G E A rest
and the overtones are B B A rest
...all
quarter notes....this isn't like anything complicated ...or am i missing soemthing

[MadBrain]

Soprano: B B A
Alto: G G G
Tenor: D D C
Bass: G E A

(added 7ths because they sound nice and to trip you up if you're trying to make us solve your counterpoint homework!)

[rbarata]

...if you're trying to make us solve your counterpoint homework!

Ah, I knew it... the lazy student sindrome...
No, I don't have any need to put someone else doing my work. I'm studying theory by myself...so, what's the point in doing that?

I've done already something like this:

B B A
G G C
D E E
G E A

and

B B A
G G C
D E E
G E A

Thank you, MadBrain, for your sugestion but I didn't learned (yet) 7th chords.
I already got my answer.
Thank you all.

[jancivil]

"I've done already:"



So here, you have crossed alto and tenor? WHY?
The alto voice doing this leap of fifth is clunky not only as it creates this unnecessary issue, it's too strong for an inner voice moving to an inconclusive harmony.

Take the alto to the E and the tenor to the C, now you don't have that problem.

The most musical writing is probably:



The contrary movement is balanced and the tenor line provides relief by being a straight line; and its effect is melody-like.

I hope you are hearing these; it is about making it be music.
This is a good example of why most of us should have a course in this.

[rbarata]

Thanks jancivil

I should have written:

B B A
G G C
D E E
G E A

and

B B A
G G E
D E C
G E A

In case you haven't noticed, both solutions I've posted are the same...my error.
Although it was one that I have tried before, I haven't choose your sugestion because the common tone was not maintained in the same voice. I thought this was a "rigid" rule. Now I know it isn't.

Thanks for the reply.

[jancivil]

I think it isn't a rule and if someone posits it as one it's the opposite of a good rule. Proscription against crossing is reasonable; in pretty much any case with this type of material it's going to produce a bad result.
The rules should lend themselves to better writing, ie., a better sounding chart. Again, instructive as to 'get a course or a tutor', someone experienced and trustworthy rather than bounce around gauging opinion.

Here it provides for the tenor line as shown, which for me works the best, as I argue above. The second one in your new post is the second thing I did, to see what was feasible without the shared note, and it isn't as good. These two are about what there is available to us and still heed 'no parallels' etc.

[b4serenity]

Are there any vids or sound clips that highlight the different ways and how they sound?

[rbarata]

Are there any vids or sound clips that highlight the different ways and how they sound?

I think you can write it in a score editor or any sequencer. Then press play.

[jancivil]

grab MuseScore, it's free and it provides a little synthesizer for playback. It's the quickest thing I know.

[b4serenity]

Thanks guys!