Root Position Part Writing

In the context of root position part writing, which interval of root movement is treated as being the same as a 3rd apart?

When writing for four-part textures with repeated root position triads, which member of the triad is usually doubled?

In a three-part texture with a repeated root position triad, which member of the triad is often omitted?

Which tone is almost never doubled in root position part writing due to its strong tendency?

When connecting two root position triads with roots a 4th or 5th apart, what is the 'common tone and stepwise' method for four-part textures?

In the 'similar motion' method for connecting root position triads a P5 down, in which direction do the three upper parts move?

When is it acceptable for the leading tone in an inner voice to leap down to the 5th of the chord instead of resolving to the tonic?

How many pitch classes do two root position triads with roots a 3rd apart have in common?

In four-part writing between root position triads a 3rd apart, what is the 'two common tones and stepwise' method?

What is a potential voice-leading problem in three-part textures when moving between triads with an ascending root movement of a 3rd?

When connecting two root position triads with roots a 2nd apart in four-part texture, what is the typical motion of the upper voices relative to the bass?

What is the name for the progression V-vi or V-VI?

In a V-vi deceptive progression, what is the usual doubling in the vi chord in a four-part texture?

What is the acceptable exception to resolving the leading tone upward in a V-vi progression in a major key?

Why is it generally unacceptable for the leading tone to move down to scale degree 6 in a V-VI deceptive progression in a minor key?

According to the introduction, the conventions presented in Chapter 6 for part writing are described as what?

In a four-part texture, how can an incomplete final I chord be constructed according to the chapter?

How many triads with roots a 2nd apart must be connected for the smoothest voice leading in a three-part texture?

The 'tertian leap, common tone, stepwise' method for connecting triads with roots a 4th/5th apart is described as being useful for what purpose?

How many different intervals that can separate the roots of any two chords are the part-writing conventions reduced to in the chapter's introduction?

In the summary of Chapter 6, which part of a triad is stated to be frequently omitted in three-part textures but seldom in four-part textures?

What is the primary voice-leading rule when writing for triads with roots a 2nd apart in a four-part texture?

How many pitch classes are shared between triads whose roots are a fourth or fifth apart?

In a four-part texture, when connecting a V chord to a vi chord, what is the motion of the two upper voices that are not the leading tone?

What is the main requirement for chords in three-part textures, as stated in the section on roots a 4th/5th apart?

What is the relationship between the written range and sounding range for a transposing instrument?

To what does the term 'doubled' or 'tripled' refer in the context of part writing?

If a composer wants to write music for a French horn in F at concert pitch, what mnemonic is provided to help with transposition?

When the bass moves by arpeggiating an octave while the chord is repeated, what can the upper voices do?

When using the 'common tone and stepwise' method for roots a P5 up, in which direction will the two moving upper voices go?

What is the consequence of the voice leading in a standard V-vi deceptive progression?

How many common tones are there between two root position triads whose roots are a second apart?

In a three-part texture, a final I chord may consist only of what?

When connecting root position triads with roots a descending 3rd apart in a four-part texture, in which direction does the one moving upper voice travel?

Which of the three methods for connecting triads with roots a 4th/5th apart is described as being 'not as smooth as the first two'?

In three-part writing for the deceptive progression V-vi in a major key, what is a possible motion for an inner voice containing the leading tone?

What is the primary reason that seventh chords are not used compositionally in Chapter 6?

For which family of instruments does Chapter 6 mention that writing music as if they all had the same range makes it easier for players to 'double'?

In three-part writing, what is generally done with an incomplete triad?

The part-writing principles for a root movement of an ascending P4 are identical to those for which other root movement?

What is the primary characteristic of the voice leading between root position triads with roots a 3rd apart?

In the summary of Chapter 6, what is stated as the usual doubling in the second chord of a V-vi progression?

Which fundamental root movement is described as one of the most foundational in tonal music at the beginning of the section on roots a 4th/5th apart?

What is the primary reason given for why the leading tone is almost never doubled?

When moving from V to vi in a minor key (V-VI), why can the leading tone not move down by step to scale degree 6?

What is the very first step suggested in the procedure for writing for an instrumental ensemble?

What is stated to be a major issue in part writing in the tonal style, as mentioned in the introduction of Chapter 6?

If the bass moves down by step when connecting triads with roots a 2nd apart, how do the upper voices move?

Which of the following is NOT one of the four main combinations of root movement discussed in Chapter 6?

What is a key difference in handling root position triads in three-part textures compared to four-part textures?