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		UG Community @ Ultimate-Guitar.Com > UG Community > Archives Of The Best Threads > Music Theory Archives
Melody and harmony

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08-01-2005, 09:09 AM	#21
MATTTHEMOP professional insomniac Join Date: Feb 2005 Location: umm	so elongation is the term used to describe simply repeating notes between others? its not actually a 'longer' note __________________ i need to get a better signature.

08-01-2005, 02:51 PM

#22

Corwinoid

UG Monkey

Join Date: Nov 2004

Location: I am Ra. You are perceptive.

Not necessarily repeated no... maybe this will help:

Music strives for a fundamental structure similar to what's in the first measure (really, it's not _THAT_ simple... but tonally that's what nature wants to happen). You see in the second measure, I'm just arpeggiating notes based off the upper melody?

I'm not repeating anything, but I'm elongating the primary note with some type of formal extension; in this case arpeggios.

In each case, the new note (marked with a degree symbol above it) becomes a new conceptual root. Every note in the entire sequence strives to become one of these new roots, but as the composer I've limited where this actually occurs to just those three primary tones.

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08-06-2005, 09:36 AM

#23

MATTTHEMOP

professional insomniac

Join Date: Feb 2005

Location: umm

Re: Harmonizing a melody

Quote:

Originally posted by Corwinoid
I won't go through chord construction, hopefully you understood that before you started reading this. So our (basic) candidate chords for each note are as follows:
A: Am, Dm, F, Bm7b5
B: Bm7b5, G7, Em
C: C, Am, F, Dm7
D: Dm(7), Em7 or E7, G7, Bm7b5
E: Em7 or E7, C, Am

A couple of notes here. Generally in the minor keys we won't use ii(half dim), except for ramping up to an exposition in the relative major. We usually won't harmonize to VI, though we can, except as preperation for VII7. And generally, unless we're preparing for a cadence to the relative major (again, normally for an exposition in major), VII will be played as VII7, resolving up by step to i. These are guidelines, not hard rules, and they're violated often enough--but it's good to keep them in mind, obeying the natural tendencies of a minor key to sound minor.

Building up a harmony for this, measure by measure:
1: Since we're starting on 1 in the melody, it's usually a good idea to start on I. Since A and C both harmonize to Am, we might as well keep Am for the entire measure.
2: We have the option of keeping Am for this measure, tonally it's a repetition of the first measure. While this is completely viable, we won't. Our options to start here are Dm, F, and Bm7b5. Looking at the following measure, we're not moving to a major phrase--in face we're ending the current phrase on 1 again, so we can pretty quickly discard Bm7b5. F, moving i-VI might be viable, if we have somewhere to go after this. And Dm, moving i-iv, is a prime choice. When the D plays, we can either move to Dm, or accept it as a probably dissonance with whatever we're playing instead.
3: We have the choice of C, moving to Dm (when A sounds), which is acceptable if we we playing F before; moving back to Am, or moving straight to Dm. F probably isn't a good choice here, we're too close to the beginning of a new phrase for this to play out well, probably.
4: Free measure!
5-7: Our options are the same as 1-3.
8: Another free measure!
9: Good ears will notice that there IS a change in the tonality here. In fact we've moved into the relative major; even though this is the end of our example, that's ok because the actual piece continues. This means we'll probably want to be playing C to begin this section. Good ears, however, will also notice that the bloody D is a key note in this measure, not a simple passing tone. Our possible changes here are limited to G7, and Dm--C won't move backwards to Bm7b5, and Em7 locks us into a specific path, and for demonstrative purposes we don't want that.
10: Here we have a movement back to C in the melody, followed by B. Our candidates for the first half are C, Am, F, and Dm7; over B we can either accept the maj7th (we won't), or move to G. Here, Em won't work at all (nowhere to go to at the next change).
11: We can either resolve this phrase back to major (C), or to Am. Depending on what happens next, the choice is up to us.

thanx for your help, its really cool.

the above stuff i quoted was kinda the only bit i didnt really understand. could u please explain
1) why those are the candidate chords and not others?
2) wot are the factors that made u choose some chords rather than other chords when adding the chords to the piece?

thanx

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08-31-2005, 02:34 AM

#24

Crimsonashes

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Join Date: May 2005

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u are the goddamn king of moderators!!!!!!!!

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08-31-2005, 05:47 AM	#25
casualty01 Here all along Join Date: Apr 2002 Location: Warm and Fuzzyland	^^ um, yeah, while that's sweet and all. 1. don't bump threads that are nearly a month old unless you have a specific or important question/comment about said thread. 2. er... he's not a Mod. let's hear it for perceptiveness! Cas- __________________ What's all the buzz about?? Don't be an idiot... click and find out.

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