Chapter 14 - Harmonic Composition 2: The Process
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- Part-writing requires knowledge of melody, interval, triads, inversions, seventh chords, cadences, non-chord tones, figured bass, chromatic harmony, resolution tendencies, and counterpoint.
This example uses three-second inversion triads and introduces the submediant triad (vi) and the deceptive cadence.

Add the Roman numeral chord symbols and inversions.

Write the melody

Fill in the alto and tenor at the same time

Check your work
- Correct chord members
- Resolutions (including holding the chordal seventh on Ab until it can resolve to G)
- Double the fifth in 6/4 chords
- No parallel fifths or eights
- Spacing
Scoring
- Common errors and how to avoid them
- Omitting the accidental
- Spelling the chord incorrectly (not putting the sharp sign)
- Omitting the root
- Parallel fifths between the bass and tenor
- When V7 goes to I or i, if the V7 has all four members, then the tonic chord will have three roots, one third, and no fifth.
- If the V7 is not complete, then that will lead you to a complete tonic triad.
- Leading-tone chords will have three resolution tones.
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