The biggest amount of time is put in the interest of the notes and the amount of focus. The dissonance or consonance of the notes are also playing a big part. Notes that do not belong by a chord are called; nonchord-tones. There are upper and lower neighbour tones and the double neighbour tone; which is a combination of the upper and lower. Sometimes neighbour tones are called auxiliary tones. An incomplete neighbour or escape tone is a changing note that does not return, but jumps up or down even more.
Melodic fluency is the underlying supporting pattern for decorating the music. The filling of a musical hole is called Gaf fill and the pattern of the harmony is good continuation. When all the notes of a chord appear after each other, you’ll call it an Arpeggiation.
tonic and dominant
The dominant is the fifth note of a scale. It has tendency tones that are willing to resolve into the 1, namely the 7 and 2. For example when playing a C-scale, the dominant is G-B-D.
With the dominant and tonic you are able to create two cadences; the authentic and half cadence. The half cadence ends on the dominant and the authentic on the tonic. The authentic cadence has more power because of the outer voices; in the perfect authentic cadence the soprano ends on an 1 or 8; in the imperfect authentic cadence the soprano ends on a 5 or 3.
There is also a contrapuntal cadence; 7 to 8 or 2 to 1, but it is weaker than 5/1.
By changing chords try to move the smallest possible intervals.
- never abandon the keynote and 3 when creating a 4-vocal movement.
- most of the times the keynote is doubled
- never double the leading tone/7
- keep the soprano & alt and tenor & alt in one octave in terms of distance. You’ll call it close position when they lay against each other and open position when there is space between the notes.
- keeping notes the same, is always a good idea.
The dominant creates movement and the tonic creates tranquility
- write complete chords, doublings are possible at the same degree
- There is a prohibition for parallel fifths and octaves.
- the leading tone in soprano has to be solved by steps
- the bass is the fundament
Yours Sincerely @inMusicalTerms
Also: check out my last article about writing harmonies: https://steemit.com/music/@inmusicalterms/music-theory-writing-harmonies
with the help of The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, 3rd Edition - Steven G. Laitz
pic. 1; [ http://www2.siba .fi/muste1/images/2_5_hajasavelet1_en.gif]
pic. 2; [http://danielnoble75.w eebly.com/uploads/2/3/5/5/23558538/5830985_orig.png]
pic. 3; [http://www.waybuilder. net/sweethaven/Humanities/Music/TraditionalHarmony/pics/fig2_37.gif]