Transcription Attempt

I am transcribing a piano "sketch" that I wrote out - it will eventually be used as the harp part of a flute and harp piece I am writing.

I am mainly struggling with getting some of the inner voice movements and the turnaround figure written out accurately. The progression is pretty simple, it's just:

I-iii7-IV-iv-I-viio7/ii-V7/V-V-I (4-3)

It would be greatly appreciated if I could get some guidance/help - I already have most of it written, it's just those two sections that are stumping me.

* I also switch the viio7/ii for a V7/ii the second time through. 

Hello @GospelPiano12,

Do you have the pdf of your transcription? Base on the recording I think the progression is good with those suspensions and flattened notes!

Henry

Hello,

I think using I6 instead of iii7 in the second bar would be better. Try to make the inner voices move in a straight line if possible. Here is how I would write this section and pay attention to the movement of the four voices in the bass:

In the eighth bar, I prefer using F-F-A-E♭ instead of F-E♭-A-C in the left-hand part. The reason for this is that the C in the bass may interfere with the D in the melody (according to your recording), but that is just my opinion. The E♭ in the bass then moves down to C since there is already an E♭ in the right-hand part.

I hope this helps.

10 hours ago, Henry Ng Tsz Kiu said:

Hello @GospelPiano12,

Do you have the pdf of your transcription? Base on the recording I think the progression is good with those suspensions and flattened notes!

Henry

 

I do not, I am working on transcribing the recording so I can go back and make adjustments

9 hours ago, Carl Koh Wei Hao said:

Hello,

I think using I6 instead of iii7 in the second bar would be better. Try to make the inner voices move in a straight line if possible. Here is how I would write this section and pay attention to the movement of the four voices in the bass:

In the eighth bar, I prefer using F-F-A-E♭ instead of F-E♭-A-C in the left-hand part. The reason for this is that the C in the bass may interfere with the D in the melody (according to your recording), but that is just my opinion. The E♭ in the bass then moves down to C since there is already an E♭ in the right-hand part.

I hope this helps.

 

Ahhh, that makes a lot of sense - what about the turnaround figure? Just asking b/c your is in 3/4 while mine is in 6/8

1 hour ago, GospelPiano12 said:

Ahhh, that makes a lot of sense - what about the turnaround figure? Just asking b/c your is in 3/4 while mine is in 6/8

I think this is the turnaround figure you mentioned:

I added some inner voices to the second bar in this image since you played F, A, and E♭ at 0:13. The melody in the recording is pretty much preserved - only some notes were tweaked to match the harmony. In the second and third bars, the movement of the six voices is shown in the figure below:

The five notes in the fifth bar (B♭-F-B♭-D-B♭) are the lower five voices (counted from the bass note). The F in the fourth voice moves down to the third, D, since it defines the chord's tonality. If this passage is written like this, with F instead of D :

The harmony may sound hollow and less rich since the third is only played in the high register. By the way, your recording highly suggests that the piece is written in 3/4, judging by the passage from 0:09 to 0:14. 6/8 may also work fine with this piece.