Some 4 Part Harmonisation techniques

CHORDAL1 ( CH1)
voiced as member of the chord

CHORDAL2 ( CH2) melody note voiced as extension or alteration over valid

chord
DIATONIC (Scale) ( Dia) - Each voive moves one diatonic step into the
corresponding note in the target voicing
CHROATIC chromatic approach, melody moves in the interval of a half step, all
other voices follow in the same interval
Dou!"e Chromatic#The two preceeding notes approach the target tone or tension by
consecutive half steps in the same direction
PARALL$L parallelism, melody note moves in other interval than semi tone
( Chromatic) all other voices follow in the same interval
Dominant ( Ton %om)assing tone is voiced as temporary dominant chord
resolving into the following chord
Dominant %iminishe% (Ton %im) diminished tonici!ation, passing tone is voiced as
temporary diminished chord and this resolves to the following chord"essentially the
same as ton dom, or #ominant, but treating it li$e a dominant with a flat %
( #iminished)
NBTom Dom and Ton Dim are really the same thing!!!!!
Diminishe% "1&&&here a non chromatic approach note is harmonised by building a
diminished chord down from the lead note' ( ( li$e this )))"*ang a diminished in, and
if it sounds good, $eep it))
2#("'n%sa') + little more structured here' To ,uote ( -a!! arranging techni.ues p
/01)
Guidelines
1 Melody must move by the interval of a half or whole step into a hord tone or
available tension
!" The melody note must be one of the following sale degrees# !$%$b&$ or Ma' ( of
the root of the movement" )r e*ample$ if the hord of the moment is an )($ then the
melody must be a G+!,$Bb+%,$ Db+b&,$ or - + Ma' (, to aommodate diminished
approah"
." /oie target hord first to determine approah hord note order" 0reate a
diminished hord down from the lead in a position derermined by voie leading into
the target hord"
%"The approah lines may not neessarily move in the same diretion as the lead to
the target voiing and a repeated note ould our"1
In%e(en%ent "ea%- &here you 2s$ip3 an note in the reharm se.uence' This is an
independent lead' 4ee 5odern -a!! voicings 66
In%irect Reso"ution &hen two notes of short and e.ual duration approach a chord
tone or tension target note by stepwise motion from opposite directions, they form an
indirect resolution pattern ( 5odern -a!! voicings pg 66)' They may be harmonised
with different approaches ( chromatic and chordal for example)
)oice"ea%in* voice lead chord ( To .uote 7lli)
2armoni3ation of hromatis or 4tensions5 an also be done by using so alled
voice lead chords" 6ame as the hromati approah$ the target hord must be
voied first" A general rule: 7f the melody moves in the interval of a whole tone$ all
other voies move a semitone into the same diretion" 7f the melody moves a semitone$
all other voies also move a semitone but into the opposite diretion" 7f the melody
note stays the same$ the other voies asend or desend a semitone1
Soun%s *oo% technique ( S+)
(f it does sound good, and you 8ust 2 heard it3 it is very li$ely that you have used your
ears to use one of the above techni.ues' 9o through the above, and wor$ out what it
is' :ou may however find that your techni.ue really does not fit into the above, and in
that case, you have used the 2 sounds good5 techni.ue of ; part approach note writing'
<( don3t $now what it is mate,"but it 8ust sounds good)=