Four-Part Writing Exercises - Harmony I, 10 скачать в хорошем качестве

Four-Part Writing Exercises - Harmony I, 10

The Exercises – In working out exercises in Four-Parts, you will need to apply the Rules respecting voice range and voice-crossing, doubling, common/nearest chord tones, and the various types of motion: contrary, oblique, and parallel (to avoid incidences of parallel fifths and octaves in your writing). Be sure to write only in close position, not open position, until further notice. Remember, close position means there are NO missing chord tones between soprano and alto, nor between alto and tenor. A wider separation between voices is only permitted between Bass and Tenor. Recall the workflow and sample showing you how to do the exercises: the Roman numerals indicate the actual harmony, whether tonic (I), subdominant (IV), or dominant (V), and the Arabic figures (if any) over the first Bass note indicate the interval or distance of the starting note of the Soprano, in relation to the first Bass note. Notice that a figure 3 puts the third in the Soprano – as is shown here. A 5 would designate the fifth, again, in the Soprano, and a number 8 would mean that the Soprano starts one or two octaves above the bass (in which case there may be no Arabic figure at all). Here is the workflow, to get you started: First, set up a Grand staff with treble and bass staves in your staff paper notebook, and transcribe the bass part to the bottom staff. Use pencil. Be sure to add the Roman numerals below the bass, and label the key at the start of the section, exactly as is shown here. Next, you write in the soprano note of the first triad, whether the octave, double-octave, third, or fifth above the bass note, and fill in the rest of the tones of the first chord with the alto and tenor. Remember to use proper doubling, and only close position, for now. Continue working out the individual voice lines through the rest of the chords, always applying the Rules, until you’re done. Shown here is the completed exercise, though there may be more than one correct solution. Next, create two new exercises out of the sample you just completed, by transposing the bass line only to the keys of G major, and F major. Use a Grand Staff again, add the proper key signatures and Roman numerals to both. Next, pause the clip, and work out the upper voice parts again! Note: DO NOT simply transpose the other voices note-for-note from C major to the new keys, or you will have problems with voice range. Work out the upper voices again, for practice! After you succeed in the transposed keys of F and G major, you may go on to the exercises. Now, are you ready to proceed? Begin! These four bass lines are found on p. 21 of Salomon Jadassohn’s main Harmony textbook, also linked in the description. You will have to determine the key, then figure out the Roman numerals to put below each bass note. Your past experience and practice with major scales and key signatures will be useful. Here is the workflow. If you set yourself up for transcribing everything to a Grand Staff, with the bass lines on the bottom staff, then you will be ready to add the three upper voices to the treble staff. (...) CREDITS AND LINKS Jadassohn, Dr. Salomon. Elementary Principles of Harmony for School and Self-Instruction. Breitkopf and Hartel, 1895. A Public Domain work. ________. Manual of Harmony. Breitkopf and Hartel, 1890. A Public Domain work. Internet Archive Links – must copy url and paste into browser – for download of [Elementary Principles]: https://archive.org/details/elementar... Internet Archive Links – must copy url and paste into browser – for download of [Harmony]: https://archive.org/details/manualhar... Harmony I, 009:    • What Is a Cadence? - Harmony I, 09   Harmony in Music Playlist:    • How to Manage Chords - Harmony I, 01   Fundamentals of Music Playlist:    • Music Fundamentals   Elements of Music Notation Playlist:    • Elements of Music Notation   Piano Beginnings Playlist:    • Piano Beginnings   Follow Mark Priest on Twitter: @PriMarkMus