Integrated Music Theory 2023-24

Discussion 11a - Fundamentals of Part-writing

Harmonization Conversation

Sean’s Steps for Harmonizing a Melody:

  1. Identify the key.
  2. Determine the length of your phrases.
  3. Decide on a harmonic rhythm.
  4. Choose a cadence.
  5. Fill in the rest of your progression as Roman Numerals.
  6. Compose a bass line.
  7. Write in the alto and tenor voices.
  8. Check your work for smoothness, errors, and convincing sound.

When in doubt: K.I.S.S.

  • (Keep It Simple, Stupid)
  • As you’re learning to harmonize voices for the first time, don’t go for the most complitcated progression or melody possible. Settle for doing the most basic option, following all the standards rules. It will save time!
  • Focusing on smooth voice leading, correct doubling, and correct tendency tone resolutions will make this process a lot easier! If your voice leading is good, you avoid dealing with a lot of errors because they’re symptoms of bad voice leading.

A first attempt at part-writing

  • Possible progression: I - ii - V7 - I
    • As you fill in notes, be making sure all chord members are present. Triads always need the third. Seventh chords always need the third and the seventh.
    • Voicing of the last chord (C’s in SAB, E in T) isn’t ideal. It’s very spread out and there’s a third between B and T, which can make the chord sound muddier than if it were somewhere between the upper three voices. This happened because of repeated tones in previous chords.
    • When determining your voicings, think of the harmonic series! There’s a lot of space between the lower notes but there’s progressively less the higher you go. If you try to emulate this in your voicings, you’ll end up with better sounding, stronger parts that are less prone to errors.

General Notes

  • If you have a bass line that is jumping around, chances are that the chords present are mostly in root position. If the bass line is smoother, the chords present are likely to have many inversion.
  • Smooth voice leading is great and all, but it does not create tension easily or efficiently. That is why we follow our circle of fifths progression chart. It gives us change, tension, and a place to go.
  • Manage your vertical aspect: Are the ranges reasonable to sing? Are the upper (non bass) voices within an octave of their neighbor? Are voicing crossing? Is your piece following our doubling rules?