Chapter 14 - Harmonic Composition 2: The Process

• 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.