The term cantus firmus is historically reserved for polyphonic works, as seen in footnote 20 of Melody and Texture. It is used throughout this text, however, regardless of texture type, to denote any pre-existing melody.
Parallel octaves/unisons are permitted in purely monophonic sections.
Ranges for vocal parts are shown in example 6.27 in Beyond Pitch Notation. Remember that the regions near the extreme highest and lowest notes of each range are difficult to produce and should be written very sparingly.
One word of caution: diminished triads most often appear in first inversion with the leading tone in the soprano.
DO NOT DOUBLE THE SOPRANO when it contains the leading tone.
Harmonic Progression
This concludes the introduction to voice leading, and brings a close to the study of diatonic harmony. The study of chromatic harmony begins with a look at tonicization.
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