Bass harmonization

In the first one I don't read any major errors, I don't quite understand the last chord on VI and in general the motion of the parts is a bit too static; for example, the soprano does nothing but do si do re do si do re etc.

In the given singing, I wouldn't double the C# (which is the leading tone) of the melody in the penultimate chord.

Curiosity, but is the texture you used a constraint?

In the bass, there are some things that are not quite right:

1) bar 2: when the bass descends from the V to the IV degree, the IV does not harmonize, but rather the chord remains stationary and becomes a third inversion of a first-species seventh chord; this is to avoid the 'B - F' tritone that occurs in the voices, even if between different voices.

2) bar 7: I would avoid doubling the third when the third is in the bass; it is better to double the octave, the C. When the bass then goes to C in the next movement, you will need to insert E into the harmony, otherwise the chord will be left without a third.

3) bar 7: I don't understand the harmonization of the bass A, which is a sixth degree descending to the fifth; you use D-F-C over the bass A, but this becomes a second inversion of D minor. However, the second inversion should be used with moderation and in specific cases, even if in bass harmonization—unlike in counterpoint—it is used with more freedom, perhaps too much freedom I would say. Therefore, to avoid possible criticism, I would change the D to C and that's that; this way you obtain a first inversion and no one can say anything to you....

4) bar 8: same thing as bar 2, the bass F is not harmonized and as it stands, we are missing the third; the V-IV transition is always a bit tricky, which is why the best solution is to keep the chord stationary and only let the bass descend.

In the subsequent bars, some of the things I have already listed above reappear.

In conclusion, for a given bass line, I would say that the highest voice moves too little, staying constantly between B, C, and D. Perhaps you haven't yet reached the stage in your studies where melodic movement in the upper part is prioritized, partly because harmonization is still in its early stages, but I advise you to start getting into the mindset that the extreme parts (bass and soprano) are the ones most perceived and therefore must have a wider and more interesting melodic breath.

As for the harmonization of the melody, I would say I don't like it, because there is always the return of the same degrees (I-V, V-I, VII-I), which are exactly the ones to avoid because they give a sense of closure. Therefore, I advise you to explore various possibilities by prioritizing the other degrees (II, IV, VI, III) and saving the V and the I for cadential parts.

geppino12575 wrote:

In the bass, there are some things that are not quite right:

1) bar 2: when the bass descends from the V to the IV degree, the IV does not harmonize, but rather the chord remains stationary and becomes a third inversion of a first species seventh chord; this is to avoid the "B - F" tritone that occurs in the voices, even if between different voices.

2) bar 7: I would avoid doubling the third when the third is in the bass; it is better to double the octave, the C; when the bass then goes to C in the next movement, you will need to insert E into the harmony, otherwise the chord will be left without a third.

3) bar 7: I don't understand the harmonization of the bass A, which is a sixth degree descending to the fifth; you use D-F-C over the bass A, but this becomes a second inversion of D minor; however, the second inversion should be used with moderation and in particular cases, even if in bass harmonization—unlike in counterpoint—it is used with more freedom, perhaps too much freedom I would say; therefore, to avoid possible criticism, I would change the D to C and that's that, thus obtaining a first inversion so no one can say anything to you....

4) bar 8: same thing as bar 2, the bass F is not harmonized and as it stands, we are missing the third; the V-IV passage is always a bit tricky, which is why the best solution is to keep the chord stationary and only let the bass descend.

In the subsequent bars, some of the things I have already listed above reappear.

In conclusion, for a given bass, I would say that the highest voice moves too little, indeed always between B, C, and D. Perhaps you have not yet reached the stage in your studies where melodic movements of the highest part are prioritized, partly because the harmonization is still at an early stage, but I advise you to start getting into the mindset that the extreme parts (bass and soprano) are those that are most perceived and therefore must have a wider and more interesting melodic breath.

As for the harmonization of the melody, I would say I don't like it, because there is always the return of the same degrees (I-V, V-I, VII-I), which are exactly the ones to avoid because they give a sense of closure; therefore, I advise you to explore various possibilities by prioritizing the other degrees (II, IV, VI, III) and saving the V and the I for cadential parts.

Thank you very much. Regarding bar 7, I used a second inversion of a second species seventh chord on the A that goes to G.

I am still at the beginning; I have to take my first harmony exam which is based on basic notions. What interests me at the moment is not making serious mistakes. Over the years, I hope to improve!

rosy961 wrote:

I have harmonized this bass line lately:

and the question is?

the first 'IV' that appears is not a IV, it's a ii7 in first inversion....etcetera...anyway I agree with everything said by abatefaria

lidevosvuotare27 wrote:

is the question ?

This is a section dedicated to harmony exercises; evidently, if someone posts a completed exercise, they do so implicitly to ask for an opinion or suggestions. That is the purpose of this section.

Specifically, if I remember correctly, Rosy is at the very first exercises. Does anyone remember their own first 6 months of their complementary harmony course?