Writing BAD Four-Part Harmony?! - Music Composition
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Date: 2022-03-28
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Comments and reviews: 10
MaggaraMarine
Another option for the first bar would have been to move the alto part from E to G#, and the tenor part from B up to an E. This way, the next bar would have had A in the alto and E in the tenor. Nice parallel thirds between soprano and alto, and all in all, probably a bit easier to sing (because it has smaller leaps). Then again, the middle parts would have been more static that way, though that isn't necessarily a bad thing.
A third option would have been to keep the E in the alto throughout the 2nd measure. The tenor part in the 2nd measure would then have been A A G#. This would have worked especially well if the second chord of the first measure was the first inversion tonic chord.
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Another option for the first bar would have been to move the alto part from E to G#, and the tenor part from B up to an E. This way, the next bar would have had A in the alto and E in the tenor. Nice parallel thirds between soprano and alto, and all in all, probably a bit easier to sing (because it has smaller leaps). Then again, the middle parts would have been more static that way, though that isn't necessarily a bad thing.
A third option would have been to keep the E in the alto throughout the 2nd measure. The tenor part in the 2nd measure would then have been A A G#. This would have worked especially well if the second chord of the first measure was the first inversion tonic chord.
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Martin
In the third bar, I thought you were going to keep the melody, but change the F natural to E sharp as part of a C sharp 7 chord leading to F sharp minor (or possibly another 7th chord). Then I wondered if it could start and finish in C sharp minor, it might make more sense to the line. I did not think it was permissible to alter the line in a harmony exercise.
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In the third bar, I thought you were going to keep the melody, but change the F natural to E sharp as part of a C sharp 7 chord leading to F sharp minor (or possibly another 7th chord). Then I wondered if it could start and finish in C sharp minor, it might make more sense to the line. I did not think it was permissible to alter the line in a harmony exercise.
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PorTaL3LD
Gareth, you are where I've learned almost all I know about music theory. The amount of depth you're able to provide on so many different specifics and questions I often find myself asking, all in such a polite, fun and easy to digest way. Absolutely love every single one of your videos, thank you greatly for your work. You're my hero.
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Gareth, you are where I've learned almost all I know about music theory. The amount of depth you're able to provide on so many different specifics and questions I often find myself asking, all in such a polite, fun and easy to digest way. Absolutely love every single one of your videos, thank you greatly for your work. You're my hero.
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Mark
OK, no-one else has commented on your enharmonic sleight of hand in bar 3. G flat major might not be part of the key of E major, but G flat -minor- , or rather -F sharp- minor, is of course just chord II. While this is a more striking secondary dominant than II# to V, and does make the voice leading trickier, it's still legitimate.
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OK, no-one else has commented on your enharmonic sleight of hand in bar 3. G flat major might not be part of the key of E major, but G flat -minor- , or rather -F sharp- minor, is of course just chord II. While this is a more striking secondary dominant than II# to V, and does make the voice leading trickier, it's still legitimate.
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TheToothlessSage
Thanks again for the extended video. When you mention to not double the Major 3rd how would you view a doubled Major 3rd when in 1st inversion? I've been studying this topic from the perspective of intervals above the base instead of from the root of the chord being presented. Doubling the base is frequently mentioned.
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Thanks again for the extended video. When you mention to not double the Major 3rd how would you view a doubled Major 3rd when in 1st inversion? I've been studying this topic from the perspective of intervals above the base instead of from the root of the chord being presented. Doubling the base is frequently mentioned.
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Brian
Gareth, some of us might like to start a little less ambitiously and begin with 2 part harmony arrangements? A video taking a couple of popular melodies and adding a second line would be very helpful IMHO. I don't have descants in mind, perhaps an underlying supporting melody such as you might find in American folk music?
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Gareth, some of us might like to start a little less ambitiously and begin with 2 part harmony arrangements? A video taking a couple of popular melodies and adding a second line would be very helpful IMHO. I don't have descants in mind, perhaps an underlying supporting melody such as you might find in American folk music?
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Brian
Hi Sir,
I hope and pray all is well
I am in my 50-s I been trying to learn 2 part writing in key of C
so I can start learning this slowly and really grasp this concept before even going on to 3 part or even 4 part writing
Do You have a video that can help me with this 2 part writing in music ?
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Hi Sir,
I hope and pray all is well
I am in my 50-s I been trying to learn 2 part writing in key of C
so I can start learning this slowly and really grasp this concept before even going on to 3 part or even 4 part writing
Do You have a video that can help me with this 2 part writing in music ?
reply
education
What about doubling the -main voice-, so the melody, by an octave in the bass, to create a feeling of inequality, make the melody stand out and have the alto and tenor more as voices in the background to accompany the melody? Or even have a fifth voice that doubles the melody instead of the bass?
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What about doubling the -main voice-, so the melody, by an octave in the bass, to create a feeling of inequality, make the melody stand out and have the alto and tenor more as voices in the background to accompany the melody? Or even have a fifth voice that doubles the melody instead of the bass?
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gin4
i've started to get the hang of voice leading but creating separate melodic lines that sound good on their own is really tough for me. Also my rhythms are very static I don't know how to make them sound more alive, like they're breathing. I guess I just have to keep practicing.
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i've started to get the hang of voice leading but creating separate melodic lines that sound good on their own is really tough for me. Also my rhythms are very static I don't know how to make them sound more alive, like they're breathing. I guess I just have to keep practicing.
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Brian
At 14:16, why is the last passing tone not a D#? It would likely clash with the E in tenor and soprano lines, I get that, but it's also kind of an unexpected modulation to A Major instead of being the IV chord in E. Does my question make sense?
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At 14:16, why is the last passing tone not a D#? It would likely clash with the E in tenor and soprano lines, I get that, but it's also kind of an unexpected modulation to A Major instead of being the IV chord in E. Does my question make sense?
reply
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