Replies

  • Hi Lucas - Without listing parameters eg, are you writing baroque or rockabilly or ?, it's pretty wide open, why do you even need harmony? The melody can include enough chord tones on strong beats to spell out a specific harmony if needed.  I would guess your rhythm choices are not very important to your harmony unless you are trying for a specific sound or style.

  • Actualy I'm doing an exercice by A Schoenberg that ask you to create little phrases. It doesn't allow imediate close chords, or  the vii°, no chord repetition allowed unless it's the I, only major mode and only the tryads. It says that in this way, to avoid a borring song, one should rely on the harmony (progression) or on the objective of the phrase - this part I didn't understand very well.

    So far only one phrase: Ex2.xml

    Ingo Lee said:

    Hi Lucas - Without listing parameters eg, are you writing baroque or rockabilly or ?, it's pretty wide open, why do you even need harmony? The melody can include enough chord tones on strong beats to spell out a specific harmony if needed.  I would guess your rhythm choices are not very important to your harmony unless you are trying for a specific sound or style.

    https://storage.ning.com/topology/rest/1.0/file/get/8608588900?profile=original
  • Maybe if you can direct us to your source material ( the specific assignment ) and we can make some suggestions.

  • Also it has tto have 4 voices: soprano, contralto, tenor and bass

    Ingo Lee said:

    Hi Lucas - Without listing parameters eg, are you writing baroque or rockabilly or ?, it's pretty wide open, why do you even need harmony? The melody can include enough chord tones on strong beats to spell out a specific harmony if needed.  I would guess your rhythm choices are not very important to your harmony unless you are trying for a specific sound or style.

    About melody and rythm
    Is there a secret to give the rythm of a melody an objective (or more of this characteristic) to make the music less relying on harmony?
  • It's the book Harmony by Arnold Schoenberg. I own the book and it is in portugese - BR, I'll try to finnd that passage online.

    Ingo Lee said:

    Maybe if you can direct us to your source material ( the specific assignment ) and we can make some suggestions.

    About melody and rythm
    Is there a secret to give the rythm of a melody an objective (or more of this characteristic) to make the music less relying on harmony?
  • Forgive me saying so but it doesn't make sense so far.

    Can you point us to the exercise. As for the objective of a phrase...well, that could be anything. Does a phrase (given it's there) have an objective? I suppose it could be cadential or the opposite, part of a statement?

    You say it doesn't allow "close chords" - what are they? but then you say it must be in 4 voices.....? Is it counterpoint?

    Not sure what it means. 

    Mind, if you're talking about Arnold Schoenberg...well almost nothing he said made sense to me. 

  • In my understandment it got to do something cool so it doesn't depends on the progression to, well, sound cool. But I have no idea of what it makes a phrase do what it does, like communicating with annother phrase on Bach, for example. Maybe there is a study of phrases were I can make them interesting with less worry about the progression. I llike working with melodies, not with progressions.(But I'm studing progressionns anyway)

    Dane Aubrun said:

    Forgive me saying so but it doesn't make sense so far.

    Can you point us to the exercise. As for the objective of a phrase...well, that could be anything. Does a phrase (given it's there) have an objective? I suppose it could be cadential or the opposite, part of a statement?

    Not sure what it means. 

    About melody and rythm
    Is there a secret to give the rythm of a melody an objective (or more of this characteristic) to make the music less relying on harmony?
  • Is this it?

    https://www.academia.edu/12081693/THEORY_OF_HARMONY_ARNOLD_SCHOENBE...

    THEORY OF HARMONY ARNOLD SCHOENBERG Translated by
    THEORY OF HARMONY ARNOLD SCHOENBERG Translated by

  • Yes, I was trying to access it.

    It's chaining of tonal ttryads - primary and secundary
    Ingo Lee said:

    About melody and rythm
    Is there a secret to give the rythm of a melody an objective (or more of this characteristic) to make the music less relying on harmony?
  • Page number, just to be sure?

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