Chromatic Harmony

Good evening,

I am working on an SATB "practice" arrangement - I like to make applied compositional projects for myself when learning new theory concepts.

I am trying to incorporate some more chromatic harmony into this SATB  piece, the main spots I'm having some trouble with are the 3rds system on the second page, and the circled measures. 

1. I want to write in a viio7/V, but what comes next is meant to be a I-V7 move, with passing tones in the A, T, and B to change chords. I've attached a sample of other chords that might work there. I'm aiming for something "big" before moving into the last phrase. I considered a CTdim7 or an Augmented 6th chord

2. I always struggle with changing chords using inner voices, so that's what I'm trying to work on here - I considered having an Eb-Edim7-Bb/F, but not totally sure on that

A - Bb C C# / D in alto next measure OR A-  - Bb C C# / D in alto next measure

Hi @GospelPiano12,

On 2/3/2024 at 12:51 PM, GospelPiano12 said:

1. I want to write in a viio7/V, but what comes next is meant to be a I-V7 move, with passing tones in the A, T, and B to change chords. I've attached a sample of other chords that might work there. I'm aiming for something "big" before moving into the last phrase. I considered a CTdim7 or an Augmented 6th chord

I think a diminished with a C Eb F# A will be great here. For that two chords if you want it to be smoother with the previous C minor chord, you can first go for a C minor first inversion chord then a Eb bass, A Tenor, F# Alto and C soprano chord before going to I. 
 

On 2/3/2024 at 12:51 PM, GospelPiano12 said:

. I always struggle with changing chords using inner voices, so that's what I'm trying to work on here - I considered having an Eb-Edim7-Bb/F, but not totally sure on that

A - Bb C C# / D in alto next measure OR A-  - Bb C C# / D in alto next measure

T - G G G / Ab   OR  T - G G Ab / Bb 

B - E E Enat./ F  OR  B - E E Enat./ F

For this particular phrase I may keep your alto but have your bass go Gb F Eb against the alto for a do re mi progression.

On 2/3/2024 at 12:51 PM, GospelPiano12 said:

3. Some embellishments to the I 4-3 suspension at the end of the piece. 

I like your embellishment in the picture below!

Henry

On 2/7/2024 at 9:16 AM, Henry Ng Tsz Kiu said:

a diminished with a C Eb F# A will be great here. For that two chords if you want it to be smoother with the previous C minor chord, you can first go for a C minor first inversion chord then a Eb bass, A Tenor, F# Alto and C soprano chord before going to I. 

I agree. I like the big "crunch" before going back to consonance. Do you have any other suggestions for the harmony?

On 2/7/2024 at 9:16 AM, Henry Ng Tsz Kiu said:

For this particular phrase I may keep your alto but have your bass go Gb F Eb against the alto for a do re mi progression.

Thank you - I'll have to try that. I like some good, functional passing harmony under long tones for chord changes. 

Similar harmony...but I like that this has more flow. 

Should I have a I 6/4 instated if a root position I after the vii°65/V (or a CT°7 chord depending on how you analyze it)