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Four Part Harmony Advice


rbarata

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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.

 

post-11506-0-78032100-1412979616_thumb.j

 

I'm looking for unnoticed errors or better alternatives in specific points in my work.

Thank you

 

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Looks fine to me!

The only weird thing about it is the fact that the root is not doubled in the vi 5/3 chord at the end of the first measure. However, it cannot be changed in any way without having a parallel octave between the soprano and bass or a  skip of a 4th(not recommended) in the alto, which I'm sure you're very aware of. So in this case, doubling the third of the vi 5/3 chord is completely fine and necessary.

 

Also, be sure to keep all Roman numerals for minor chords in lowercase to indicate that they are, in fact, minor. 

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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.

Edited by rbarata
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  • 4 weeks later...

I'm slightly bothered by that I-VI-II progression. The chord choice is good in theory, but I think it makes for some questionable voice leading. You have a parallel octave between bass and tenor that is broken up by no less than a chord on a weak beat, which shares the same function as the previous chord (a tonic function, albeit weakened), and where only one voice makes a motion. That, to me, seems too inconspicuous to justify that kind of voice leading. You can try to find another way to approach the II-chord, but I would probably just stick a IV in there, so the progression becomes I-VI-IV-II. I included my solution; feel free to criticize it as I'm also just a beginner at harmony.

 

post-16191-0-37190000-1415186515_thumb.p

 

edit: I end up with the same problem later on, this time between bass and alto. I believe this is the model cadence, but watch how the tenor gets all of the melody:

post-16191-0-64003800-1415186997_thumb.p
 

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.


You're citing some special cases there. Normally what happens is that the three upper voices all move contrary to the bass. V-VI is an exception because you have that leading tone as the third, which needs to resolve upward.

And I don't see how VI-V applies to this case? You go from VI to II (a subdominant function) and then to V. A direct VI-V is technically correct, but not often used because it's a weak progression that sounds modal. Regardless, if you do it, the upper voices should probably move up, contrary to the bass.

You do know how to make a standard I-IV-V-I cadence, right? Contrary motion is essential there.

Edited by Monojin
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