TheAristocrat

Thanks again for your time :) I'm going to spend much time perfecting this craft. I have gathered considerable resources, so I'll work on those before I ask any more questions. Again, the responses here have been most fruitful and very much appreciated. Kind regards Marcus

That's a fair point, then practice I shall!

Hi, I recently followed a link in the lessons section, to a site by the name of TonalityGuide. Here I downloaded the attached document where I must complete the harmonising of each cadence. Having never done so before I would like to seek some guidance on how to approach it. What special considerations should be made, and how best to harmonize a cadence when only the alto is presented? Any help gratefully received. Regards 1.Cadences following the melodic pattern 3-2-1.pdf

Thanks for the clarification ^_^

:toothygrin: What I basically did was write out as many permutations of each diatonic progression as I could think of, in root progression that is, and then go through them checking for part writing errors. I neglected to mention this before hand, my apologise. When posting this I was basically giving a reference of what I had been up to. I've worked out a systematic approach for checking through these progressions quickly.

Lessons? How does it work? How much are they? I've tried to find someone in the past who could teach me, but alas, to no avail! It doesn't help that I never had the opportunity to study music as part of my formal education, and was being groomed for business (something I detested). But if someone were to assist me in my efforts, I would greatly appreciate that! Many thanks for your time in appraising my examples.

So, with these, I am on the right track? It's as many permutations of the I-ii progression in C major.

Okay, so anything that sticks to those rules is good. As long as I know that, and have peace of mind, then I'm all set. I don't have a teacher, so I currently feel a bit hesitant about what I am doing. Reading elsewhere about some progressions being not good made me question what I was doing. I have internalized the rules, no problems there, but thanks to all for going over a few things nonetheless as it did illuminate a few things for me.

So basically, in the context of my studies, any progression that does not violate the laws set forth in my Harmony text is acceptable? I did read a while back about certain progressions being more desirable than others, the details of which were never elaborated upon. But upon reflection I would assume the desirable qualities could only be that of the intactness of each individual sonority, am I right? So in that case doublings et al would be the key factor, another might be the level of independence of each voice. But other then that, I am free to write any progression in four parts that does not violate any rules? I ask this as a student and not a full-fledged artist breaking free from these lesson constraints. Thanks again for your time.

I appreciate that post, it will save me from further wasting my time and money, lol. Though I am a bit disappointed in the lack of instruction for important theoretical components of music as it's applied to guitar. I will continue to try and apply these things, very much agreed on Walter Piston. I have his counterpoint and orchestration texts, very good reading in both cases. Just for clarification, I produced three progressions last night, and I would just like to hear what you think of them, and maybe some improvements in what I am doing could be put forward? The first two progressions are in Amin, and the third Cmaj. Each four measures in length.

Hi, Regarding root position four part writing, as long as I do not commit parallel perfect 5ths/Octaves, direct parallel perfect 5ths and octaves et al, any formation of chord progression is acceptable? There are a great many permutations it's mind numbing to think of it, I seek assurance that any of these are acceptable. Anything else that I may need to be further aware of?

I see, so, how would you recommend that I as a guitarist study harmony and counterpoint? Is there a proven text dedicated to the guitar that you could recommend?

Hi, I would greatly appreciate if someone could put me out of my misery and explain how voice leading is achieved on guitar. I have bought several, expensive, books that have failed to do what they claim and nobody I have ever encountered online has been able to answer any of my questions. I have a very good Harmony text in Walter Piston's Harmony 3rd and 5th Edition, with the 5th Edition's workbook, but I have no idea how to apply anything on the guitar! Very frustrating. I have been trying to figure this out though, and will divulge what I think I know from my own investigations. 1.You maintain the common tone, and move uncommon tones to the next available position in the same chord on the very same string. 2.String families, maintain the placement of the first chords strings for the second chord, i.e., if the first chord is located on the d-g-b-e strings, then the second chord must do likewise. I read about this in two books. That's all I know. Anything regarding octaves and chords with differing number of notes, and all other issues remain a mystery to me. Please excuse the simpleness of my request, but this has been a big problem for me for many years. Any help will be very gratefully received. Kind regards

Hi, I have some quick questions that have been bugging me over the past few weeks. Direct/Hidden Octaves & Fifths I have seen that you cant approach a P5 or P8 by contrary motion. I read that online, but it's not in my harmony book. Is it correct? Or just not part of the common practice period? Also, I'm confused about approaching P5 and P8 by similar motion. I've see some conflicting information on this: 1.You can forget this rule altogether in 4 part textures. 2.It is only restricted to the outside voices, Soprano and Bass. 3.You must check for this in all voices, like when you check for parallel P5s/P8s/PUs. Which one is right? Should I just continue checking for it in all voices? One last thing? Does every voice have to be followed by the closest note? From V-I the D can ascend a M2 to E or descend a M2 to C. Any particular preference here? Or just go with whichever fits the situation? With regards to parallel motion, are parallel 2nds OK? They aren't mentioned anywhere I've been. I know that 3rds, 6ths, 4ths and tritone are all OK, but just curious why 2nds/7ths are not mentioned. Thanks for your time. regards TheAristocrat

Hi, Just a quick question. I dont suppose anyone knows where I could find the maestro music/sound font? I'm desperately in need of it but just cant find it anywhere! Any help will be gratefully received. Regards TheAristocrat