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.

Part-Writing and Figured Bass Examples

Figured Bass in Eb Major

• 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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