Harmony 3 - Review

General rules:

1. Common notes stay in the same part.

2. Avoid jumps.

3. Watch for crossed parts (eg. alto note is lower than tenor.)

4. Watch out to avoid voices that are too far apart.

5. Avoid parallel 5ths and 8ths.

6. Be careful with the value of your notes.

7. When naming keys, look at the whole piece, particularly the ending; don’t just look at the key signature.

Pay special attention to the following:

1. The first note of the chord is usually doubled (CCEG) except:

VI or VI6: ACE

C

VII6: BDF

D

I6/4: CEG

G

2. Make sure you note how to move from V7 to I. (GBDF - CCCE)

3. Remember how to move from V4/3 to I6. (GBDF - CEGG)

4. Review how to write a V/V. Remember to raise the leading note (the middle note of the chord.)

Melody writing:

1. If the given phrase begins with pick up notes, the phrase that you write should also begin with pick up notes. Watch where you put the beginning of your phrase.

2. Put correct rests in the bass part.

3. The first phrase always ends with an imperfect cadence.

4. The second phrase should end with a perfect cadence (V7 - I is best). The I chord should take up the entire last bar, and should have the tonic in the soprano. Be careful when writing the value of your note, particularly if the piece begins with pick up notes.

5. The second last note (ie. the last note of the second last bar) should be either one note above or one note below the tonic.

6. Don’t forget to put a double bar line at the end of the piece.

Writing SATB:

1. An accidental usually indicates a change of key, unless the piece is in a minor key (the leading note will be raised.) If you have determined that the piece is in minor, then the lack of a raised leading note will indicate a change into its relative major.

2. Phrases should end with a cadence. (Often, phrase endings will be indicated with fermatas.)

3. Try to put some kind of V before your I chords. Also try your best to put some kind of II before your V chords. (The best sounding combination: II - V - I)

4. Do use chords in inversion. However, the last chord of your phrases should be in root position.

5. Don’t write I6/4 chords unless absolutely necessary. You can almost always substitute with another I chord or a V chord.

Symbolizing chords:

1. Review non-chord notes: passing note, auxiliary note, suspension, anticipation, appoggiatura, change notes, cambiata, and echappee.

2. As always, be careful in naming keys.

3. Be careful when analyzing chords with accidentals. The accidentals may indicate a change of key, or may just be non-chord notes.

Analyzing the form of pieces:

1. Most (not all) phrases are four bars long.

2. If the first phrase begins with a pick up note, so will the second phrase.

3. Always watch if section A comes back, and if it is altered.

4. Be careful with naming the key of the piece.

5. Accidentals within the cadences usually indicate a change of key.

6. At cadences, be sure to name the key, put the chord symbols, and name the type of cadence.

7. Review the handout in naming tempos of pieces.

* Always read the instructions carefully and check them off to make sure you have completed every part of the question correctly.