Daily Archives: November 4, 2009

lectureNotes_musth1 musicTheory1

(musth1) Melody Harmonization

November 4, 2009 – 9:53 pm

To harmonize a melody, follow the steps below.

  1. Analyze the melody
    1. determine the key
    2. label the scale degrees of the melody
  2. Pick Harmonies
    1. It is very helpful to write out all the possible harmonies for each melody note (following the given harmonic rhythm)
    2. Remember that once you pick a harmony, it affects future possible choices, much like species counterpoint.
    3. Try to think in groups of harmonies by function. Write out the cadence first. Look to start with a tonic prolongation pattern. Look for possible voice exchanges between the soprano and bass parts.
  3. Write the bass line, choosing between root position and first inversion triads (if you haven’t already) to create an interesting melodic contour.
  4. Check for objectionable parallels between the given soprano and your composed bass line. Fix if needed.
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(musth1) Assignment 11: Chapter 4

November 4, 2009 – 9:34 pm

Due Friday, 11/6:

Workbook, Ch. 4, pp. 51 – 53.

Exercise 4.1, Example 4.4.

  • Provide a RN analysis of mm. 15 – 16, and 18 – 19. Although m. 15 and 18 start with incomplete triads, consider them in context relating to m. 16 and m. 19.

Exercise 4.3 a and b.

  • Remember to raise the LT in minor.
  • Try to use voice exchange when moving from root position to first inversion triads (between S and B). Try really hard. It is worth points.

Exercise 4.4 a and b (only)

  • Provide a RN analysis.

Exercise 4.5 a only. Melody Harmonization.

  • Follow the guidelines from class. I’ll post them soon.
  • You may use I, IV, V in root position or first inversion, and ii in first inversion.
  • Note the harmonic rhythm (marked R), and the indication to use first inversion triads where indicated by the number 6. One time it indicates a prolongation through change from root position to first inversion. The other time it indicates a first inversion triad that should indicate to you the middle chord of a three-chord group (we went over this 3-chord beauty in class today).
  • You are free to use first inversion triads even when there is no indication to do so.
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