Jump to content

rbarata

Old Members
  • Content Count

    30
  • Joined

  • Last visited

Community Reputation

0 Neutral

About rbarata

  • Rank
    Advanced Member

Profile Information

  • Gender
    Male
  1. Thanks for the reply, forte1320. :nod: This is just an exercise and some of the common rules are disregarded, at this point of the studies (I'm reading and making exercises from Arnold Schoenberg's Theory of Harmony). So, some "errors" on doublings and some other things are intencional. But, now talking about the program, the rules are according the classical textbooks and generally, when there's something wrong about doublings, it points a doubling error and not some other problem caused by it. Every error comes along with a brief explanation of why it is an error. In this case, it says the following: Bass and tenor may reach the maximum distance of two octaves. With open parts, the other pair of consecutive voices should be kept within the octave. With close parts, tenor and soprano should not overstep the distance of an octave. So, nothing is said between alto and bass. Thanks BTW, a link to the program site...it's freeware and very useful.http://harmonypractice.altervista.org/HPWebSiteEn/index.html
  2. Hello, my friends Learning harmony on my own...I have a doubt why the voices marked in red are too spaced. I'm using a software to help me confirm my errors and it gives me this indication. Is this correct? Thank you
  3. Well, the aim of this exercise is to connect triads in root position. Because some of the notes in soprano and bass do not allow this connection to be made according the basic rules, then I needed to find alternatives. What would like to know is if the alternatives I used are acceptable at the light of four-part writing. Thank you
  4. Thanks for the replies. Yes, it's an home work. And what do you think about the solutions I've applied?
  5. Hello, my friends I'd like to have your oppinion on this exercise I did. Bass and soprano are fixed and can't be changed. The key is B minor. Thanks
  6. Thank you for your reply, Jared. I've learned that when two root position chords move by step, the thirds should be doubled. A typical example is the progression V-vi or vi-V (this case). So, I took this as an usual solution.
  7. Hello, my friends I'm a self-didact in music theory and I would like some feedback in this four-part exercise. The soprano and bass is given and can't be changed. Plus, all chords must be in root position. I'm looking for unnoticed errors or better alternatives in specific points in my work. Thank you
  8. Hello, my friends That's it.... in SATB, if I have a third in the soprano and also in the bass, which voice should I double...how to proceed? Thanks
  9. Here is the prt scr. As you can see, the program is marking an error of consecutive octaves between chord 9 and 11. Hence, the are not consecutive octaves. Thank you
  10. Hello, my friends I'm learning four part writing with the aid of a program that, among other things, checks for errors and it tells me that I have consecutive octaves and fifths between non-consecutive chords. Is it like this? I thought the rules, at least most of them would apply only to consecutive chords. :veryunsure:
  11. Hello, my friends Sorry but there's a mistake from my side...when I said " if I put a bass in a lower C (in the bass staff), the note head gets yellow." I wanted to say "if I put a bass in a lower F (in the bass staff), the note head gets yellow." and the F it's the second F bellow middle C. I could wait forever...41 views and no answers. Thanks for the sugestion.
  12. Hello, my friends I wonder if it's possible to define user settings for voice ranges. I'm asking this because, in 4 part harmony staff, if I put a bass in a lower C (in the bass staff), the note head gets yellow. Obviously, this is not correct. Thank you
  13. I'm using Sibelius and if I use a B in the middle of a Cantus Firmus he says there are two (or more) leading tones as if it is an error. By other hand, if I don't resolve it to C, it creates another error. I couldn't find any information restricting the use of more than one leading tone but I also couldn't find any example of its application. :whistling:
  14. This piece has, in Sibelius error list, 2 leading tones. I couldn't find any rule saying it is forbiden. Hence my question.
×
×
  • Create New...