the harmonization of a given melody

• there has to be a connection that is justified between a melody and harmony
• harmony cannot be justified alone by using the right tone with the right chord
• it must fit the melody, and it must fit its neighbors, plus match specific formulas to provide for occasions such as cadences
• some examinations of conditions
  • usage of fundamental triads will continue as common
  • triads in first inversion will be the most common inversion
    • they are feeble and should not be used unless best in contrary motion
  • triads in second inversion
    • the top tone must stay stationary
    • the other tones should be moving through the tones of related triads
    • always best, too, to have this chord on unaccented portions of the measure
    • serves as a linking chord, usually to the first inversion
    • pay close attention to the interval of the 4th
    • when on accented beat, it will nearly always be lead from a root position
• funny notes from the TCHAIK
  • talent = not needing so many rules and breaking them when he can justify them
  • untalented = needs all the rules to make good music
    • LOL ME
  • be careful where cadences are and how they are formulated
  • dissonant harmonies need to be prepared and made sure that proper resolution can be assured
  • triads = beauty
    • excessive dissonances does not make a good musical composition
  • begin and end with consonant chords
  • two cadence groups:
    1. I-IV-V-I
       1. V-I
    2. V6/4-5/3-I
  • cadences as perfect and imperfect
    • perfect = last triad is in octave and fifth form
  • take all costs to make sure that there are no concealed or parallel fifth/octaves
    • even though there are some times when they might be forced via dissonant harmony resolution
    • in the outer voices, there are ways that these progressions can be justified
    • in the inner voices, there are no excuses, it is simply bad voice leading
  • the base should not jump constantly in the same direction