Robert Kelley
All part-writing problems will result in loss of points (on graded assignments and tests) according to the classification of errors listed below except for "weak doubling." (However, weak doubling can often lead to a number of more egregious problems.) The error classes are arranged so that the least problematic digressions from standard partwriting are in class 4, and the errors that most disturb the style of the music are in class 1.
| Symbol | Meaning | Definition |
|---|---|---|
| H5 | Hidden (Direct) fifths | A leap in the same direction by outer voices to the interval of a perfect fifth is present and marked with lines. |
| H8 | Hidden (Direct) octaves | A leap in the same direction by outer voices to the interval of a perfect octave is present and marked with lines. |
| D | Improper doubling | A pitch that should never be doubled is doubled, e.g. a leading tone. |
| d | Weak doubling | A more preferable doubling exists. |
| INC | Incomplete chord | A vital pitch is missing from a chord, e.g. the third |
| inc | Incomplete chord | A complete chord would be preferable given the voice leading situation |
| INV | Improper inversion | The chord should not be used in this inversion (e.g. diminished triad in root position). |
| inv | Weak inversion | A more typical inversion (most likely, root position) is preferable. |
| L | Bad line | One of the voice parts contains undesirable melodic intervals, i.e. augmented or diminished intervals, or difficult leaps (mostly 7ths). |
| M | Metric placement | A chord is improperly placed in the measure, e.g. a cadential six-four is on a weak beat. |
| P5 | Parallel fifths | The two voices marked with lines are in parallel motion a perfect fifth apart. This notation is also used for consecutive perfect fifths in contrary motion. |
| P8 | Parallel octaves | The two voices marked with lines are in parallel motion a perfect octave apart. This symbol is also applied to the error when consecutive octaves occur by contrary motion. |
| PREP | Pitch not Prepared | A suspension, or some other non-chord tone or sensitive pitch is not prepared properly in the previous harmony. The non-chord tone is indicated with an arrow pointing backward in the typical direction of preparation. (e.g. Suspensions must be prepared by a common tone in the previous chord.) |
| R | Improper resolution | A pitch is resolved incorrectly, e.g. a leading tone is not resolved to the tonic, or a chordal seventh is not resolved downward by step. This also applies to unstable chords that have specific resolution tendencies (such as the cadential 6/4). The sensitive pitch is indicated with an arrow pointing in the typical direction of resolution. |
| r | Voice range | A pitch is above or below the typical tessitura of that voice type. |
| S | Chord spacing | There is more than an octave between the soprano and alto, or between the alto and tenor. |
| TYPE? | Improper use of 6/4 | A 6/4 chord has been used in an unstylistic manner. (A 6/4 chord must be a passing 6/4, a neighbor 6/4 (pedal 6/4), or a cadential 6/4.) |
| VC | Voices crossed | One of the voices is in the wrong position relative to another voice (above or below, e.g. tenor above alto). |
| VO | Voice Overlapping | Two voices overlap improperly, i.e., one voice ascends above or descends below the note another voice was just singing in the previous chord. |
| WC | Wrong chord | The wrong chord has been used. |
| WI | Wrong Inversion | The bass note is incorrect for the specified chord inversion. |
| WN | Wrong note | The chord contains a wrong note. |
| WP | Weak progression | The harmonic progression is poorly conceived. (This notation is used for harmonization of melodies and unfigured bass exercises.) |
| X | Wrong label | The wrong symbol or label was applied for analyzing the music (e.g. wrong key, chord name, cadence, etc.). |
| ? | Missing label or music | The exercise is missing required information. |
| Class 1 Errors | |
|---|---|
| Parallel or Consecutive Fifths | P5 |
| Parallel or Consecutive Octaves or Unisons | P8 |
|
Treatment of Sensitive Pitches (aka tendency tones) (doubling, resolution) |
D, R |
|
Vital Pitch Missing (root, 3rd, or 7th) |
INC |
| Class 2 Errors | |
| Improper Use of 6/4 Chord or Diminished Triad | D, INV, TYPE? |
|
Wrong Chord or Wrong note in Chord (or not following fig. bass) |
WC, WN, (WINV) |
| Improper use or treatment of non-chord tones | WN, TYPE?, PREP, R |
| Class 3 Errors | |
| Bad Line | L |
| Weak Progression | WP |
| Hidden Fifths | H5 or D5 |
| Hidden Octaves | H8 or D8 |
| Crossing or Overlapping Voices | VC, O |
| Poor Metric Placement of Chord (e.g. Cadential 6/4) | M |
| Class 4 Errors | |
| Bad Spacing | S |
| Voice out of Range | r |
| Wrong or Missing Label | X, ? |
| Weak Doubling | d |
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