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1

Harmony in general is a pretty broad topic and there isn't just one option for how to do harmony. In general, harmony is the simultaneous or "vertical" relation between what is being played. There is the typical Western idea of functional harmony where the Tonic-Dominant relationship (I-V) drives the progressions we encounter, but there is a lot more out ...


0

Let's take a step back and just get a grasp of what is being shown here. The notes on the staff represent the melody and the Roman numerals represent the harmony. The Roman Numeral in the harmony is valid until another Roman Numeral replaces it so yes the harmony is an I which is an F major chord throughout the first measure. The melody and the harmony are ...


1

When you write the roman numeral denomination of the chords, you are implying that the notes that make up each chord are present, although not explicitly written in the score. So "I" in your example means that the notes F-A-C would be in some fashion played in an improvised manner by a performer or arranged or orchestrated by the composer for the orchestra ...


6

I don't know of any published studies on this, but the basic cause is well known, and it is a fundamental limitation on the quality of sound reproduction. When you pan the two chords hard left and right, your two loudspeakers (or earphones) are acting as two independent (monophonic) sound sources. Human hearing is very good at locating the position of ...


3

First of all congrats to the OP for an intriguing and innovative idea. I don't know of any specific studies about this subject either, but I think that the reason why the two chords don't sound dissonant when separated left and right is the same as when they are separated by an octave, and the reason why (traditionally) we have 9th, 11th chords and not 2nd,...


3

Depending on how traditional the band is, it may be a little difficult to employ quartal harmony. Since quartal harmony is definitively different than triadic harmony, you're essentially try to use something that doesn't "belong". Using quartal harmonies on top of triads can cause some major clashes and/or result in the harmony being changed. For instance, ...


4

It seems like the answer you are looking for is Tonal Harmony by Stefan Kostka and Dorothy Payne. A simple web search of college level harmony texts turned up more hits on this title than any other. One such page, from a community college, is here: https://www.flccbooknook.com/tonal-harmony-text-only The text on that page includes this description (emphasis ...


1

Answer 1 - Culture, tradition, aesthetics. Musicologists will tell you that the rules of harmony and counterpoint you mention are a specific product of time, place and culture. They come to us through some very particular western traditions of music making. Some were favoured above others, because they sounded nicer, or they were spread in popularly received ...


1

There must be something within each piece of music that has survived to our own times for it to remain fresh, inspired and worth keeping in the repertoire. Being quite fond of Baroque and pre- Baroque styles does not embrace some weird and horribly limited fad for recording four linked concerti by one Antonio Vivaldi and patently ignoring his ' other' ...


2

Is it true? No, it's not true because you used the word 'anything'. As said, it can be called a bass line in general if played by the bass even if this 'line' includes chords. It's referring to the instrument if used this way. A melody on the other hand is a series of notes. Another concept of a bass line is a series of notes in the bass. There is a ...


3

All of the above answers are correct. We can generalize here: the rules that govern what is permissible in music evolve, both in cultures and in individuals. Bach is beautiful within and because of what is not allowed to him, and so is Patti Smith. You can make up your own rules. But there's no guarantee they will work for everyone or anyone else. If ...


6

First off, you're not quite getting the point of the things you are bringing up. Parallel fifths and octaves looked down upon it counterpoint not because they sound bad, but because in counterpoint you want all your melodies to be independent and parallel octaves and fifths make your melodies interdependent. The dominant 7th came into popularity due to the ...


4

"Furthermore, how do I know if a certain musical idea (i.e. A melody and its accompanying harmony) will work if I were to just notate the music without plucking it out first on my piano?" You cultivate your "inner ear". An essential facility for any composer, arranger etc. Before there was Common Practice harmony, there was Organum. NOT using parallel ...


10

But what about modern day tonal music? I have played around on my piano with chord progressions that break all of those "rules" and if you'll forgive me for taking the risk of sounding cocky, I sound amazing! I daresay you do! However, while you may be breaking those rules, you're probably obeying newer ones. As time moves forward, more styles are ...


2

Whether the top line of notes are given or the bass, the concepts of harmonisation stays the same. The melody line tends to be given more when advance harmony questions are asked, as it test the candidate's knowledge on how to approach inversions. Whether you write the bass line or the top line your outside voices have to be written in the style of a melody....


2

Not strictly figured bass or partimenti, but you could take a look at the rules for harmonising Bach chorales, where you are given a chorale melody and fill out the parts for SATB choir, starting with the Bass line. Identify the degree of the scale of each note in the melody Identify cadences (there are cadence 'templates' based on melodic patterns are ...


2

This is a great question! I'm not sure I can help exactly, because I'm not certain what you're looking for exists, but hopefully I can at least give some good information in this area. Regole are model structures of basic musical elements like cadences and sequence. Solfeggi are "style exercises" for a voice and basso continuo. Involature are keyboard ...



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