The table of contents and introductory remarks for this widely used text.
armonia musical
Traduzido por Hugo Ribeiro e Jamary OliveiraDescrição completa
Traduzido por Hugo Ribeiro e Jamary OliveiraDescripción completa
Un libro sobre desṕertar espiritualFull description
The table of contents and introductory remarks for this widely used text.Full description
Sato - A simple song sheet music
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A Simple Plan screenplay
A famous composition by Henry Mancini
sadsaFull description
writing melodies
Unchained Melody Piano
108
Chapter Seven
Harmonic Progression and the Sequence
Harmonizing Harmonizi ng a Simple Melody Because we have so far discussed part writing only of root position chords, any melody harmonization exercises will have to be restricted to root position. For the best results, avoid using any root position diminished triads (this will be discussed in more detail in the next nex t chapter). Your Your �rst step should be to select the chords for the very beginning and for the last two or three chords, as in Example 7-21.
Example 7-21
Next, write out the possibilities for each remaining chord, remembering that every melody note can serve as t he root, third, or �f h of a triad, as in Example 7-22. Notice that we have not included the vii chord as a possibility because we want to avoid root position diminished triads.
Example 77-22 22
Te
next step is to compose the rest of the bass line. Te challenge here is to try to create a good harmonic progression progression while avoiding creating parallel or direct 5ths and 8ves with the melody. For example, parallel �f hs would result if we began the third measure with a I–vi progression. A fer you are satis�ed with both the bass line a nd the progression, progression, the � nal step is to add one or two inner voices, following as much as possible the conventions that you learned in Chapter 6. A possible harmonization is given in Example 7-23.
109
Conclusion
Example 7-23
Conclusion Te last two chord diagrams on page 105 are somewhat complex, but both are based on the
circle-of- �f hs progression. Keep this in mind while you are learning them. At the same time, be aware that Bach and Beethoven did not make use of diagrams such as these. Tey lived and breathed the tonal harmonic style and had no need for the information the diagrams contain. Instead, the d iagrams represent norms of harmonic practice observed by theorists over the years in t he works of a large number of tonal composers. Tey do not represent rules; they are just guidelines for your use in analyzing and composing tonal music.
Self-Test 7-1 (Answers begin on page 572.)
A. Complete each harmonic fragment to conform with the major-mode diagram presented on p. 105. Te chord in the blank should be di ff erent from those on either side of it. In most cases there is more than one correct answer. ? vi ( ? IV ( 1. I or ) 4. I or ) 2. IV
?
V
(
or
)
5. vi
3. V
?
IV
(
or
)
6. vii
?
V
(
or
? V
(
)
)
B. Bracket any portions of these progressions that do not conform to the complete major and minor chord diagrams (p. 105). 1. I
V
ii
vii
2. i
iv
i
VII
i
V
i
3. I
IV
iii
vi
ii
V
I
4. I
IV
ii
V
vi
ii
V
I
I
C. Analysis. Label all chords with roman numerals and bass-position symbols. Bracket any successions of roman numerals that do not agree with the complete major and minor chord diagrams.
112
Chapter Seven
Harmonic Progression and the Sequence
F. Harmonize the melodies below by using root position major or minor (not diminished) triads in an acceptable progression. Try to give the bass a good contour while avoiding parallel and direct 5ths and 8ves with the melody. Be sure to include analysis. Finally, add one or two inner parts to make a version for SAB three-part chorus or SATB four-part chorus, as indicated.
