Lesson with Josek_Yung

Josek_Yung will be starting off his lessons with 4-part harmonic writing.

Josek_Yung, you mentioned that you know your intervals, scales and chords. I forgot to ask you if you knew the names of the scale degree. Therefore, I will reivew scale degrees and their names before starting on 4-part harmony.

Review:

Each note of the scale (Major or minor) is called a scale degree. These scale degrees are designated by Roman numeral and by specific names.

We will use the C major scale as an example.

C D E F G A B

I ii iii IV V vi vii* (The asterisk symbolizes the degree circle that accompanies the roman numeral of the 7th scale degree)

Now for the names of the scale degree:

I - Tonic

ii - Supertonic

iii- Mediant

IV - Subdominant

V - Dominant

vi - Submediant

vii* - Leading Tone

Ok, if you already know this information let me know and we can continue. :)

Yep, pretty familiar with this already.

Ok, good.

For right now all our work with chords/harmonic progressions will be done in root position. Right now all these practices and "rules" will be somewhat strict.

Here is a list of traditional rules for how these root progressions like to work.

1) I is followed by IV or V (sometimes vi,ii,iii)

2) ii is followed by V,IV or vi (sometimes I,iii)

3) iii is followed by VI (sometimes IV,I,ii,V)

4) IV is followed by V (sometimes I,ii,iii, vi)

5) V is followed by I (sometimes IV,vi,ii,iii)

6) vi is followed by ii or V (sometimes iii,IV,I)

7) vii* is followed by I or ii (less often by vi, ii, IV, V)

Right, do I need to memorise them fully now or do I just need to get the general idea of it?

You do have to "memorize" them in the idea that you are very comfortable with how they work in a traditional sense. I suggest you take some time and play the various progressions so that you also begin to train your ears on what the progressions sound like even in root form.

Okie Dokie! :)

Going away and will return on Wednesday. We will resume lessons when I get back. :D

I'm back! :happy:

So, have been able to get comfortable with the traditional movements of these chords?

I think so. I've been playing them on the piano and am familliar with most progressions. :happy:

Ok, good.

In 4-part harmony the parts are called "voices" and for ease of study we use vocal terms such as Soprano, Alto, Tenor and Bass. But the concepts of harmony and voice leading work just the same for any combination of instruments.

Soprano - the highest voice part (usually female)

Alto - a middle voice part (usually female)

Tenor - another middle voice part (the higher of the male voice parts in studying standard 4-part harmony)

Bass- the lowest voice part

Before I continue, do you use Finale?

Yes, I do.

Ok, good.

During our harmony exercise these four voices will share and operate on the Grand staff. Soprano and Will be read in the treble clef while tenor and bass will be read in the bass clef. All notes in the soprano will be positioned with the note stems up while all notes in the alto will be positioned with the stems down. The same goes for tenor and bass. The tenor will be positioned the stems up and the bass will have the stems positioned down.

I have included an attachment for an example.

Let me know when you've taken a look at the example and are ready to move on.

Yep, I've taken a look and understand it.

I know the example was pretty easy to understand, but sometimes people get into bad habite regarding placement of the voices and stem directions.

Ok,

The next thing we will talk about is called "Open" and "Close" voicing/position.

When the three upper voices are as close as possible (using only notes of the chord that is being harmonized), its is called "close" voicing/position. Anything else is called "open" voicing/position. In open voicing/position there will be a space of an octave between the Soprano voice and the Tenor.

It is important to experiement and understand the the uses of close and open voicings when creating harmonies for the sake of texture.

I have included an attachment as an example.

Ok, got it.

Just to check: so the first bar is closed and the second bar is open.

OpenClose voicing example.MUS

Well, there are some problems here.

First, you have to remember what I told you about the four voices. They each have specific placement and stem direction. So, please review that part of the lesson. Tenor and Bass voices are always read in the Bass clef for 4-part writing. Only soprano and alto use the Treble clef.

Do you know how do place your notes on the staff with the stems facing up?

Also, its seems that I neglected to include the voice ranges. I have included an attachment.

Ooops. Sorry.

I've corrected it.

OpenClose voicing example2.MUS

Ok,

Your close position voicing was perfect. Your open position was good. My only issue is that "open position" does not mean the voices must be as far apart as possible. Also, try not to have a distance of more than a 10th between the Sorpano and Alto and between Alto and Tenor.

Now, voice these chords in both close and open position.

Bb Major Triad, B Diminished Triad, C minor Triad.

I've got real and mock exams coming up real soon so sorry if I can't reply quickly. I'll voice those chords when I get time (probably the weekend).

Ok, no problem.

Ok, I've done it.

OpenClose voicing excercise.MUS

Sorry, for taking so long to reply. I've been really busy.

I'll take a look at these and post comments

Ok,

I have checked your voicings.

Your Bb Major voicing is good.

Both of our B dim chords are in open voicing. Remember you need one with close voicing and another with open. (repost you B dim chords and include a close and an open voicing. Be sure to double check your work)

Your C minor voicings are good.

Ok, I will be posting your next lesson very soon so be on the look out. :huh:

Sorry. So there will always be a space of an octave between the soprano and the tenor. Got it!

OpenClose voicing excercise2.MUS