Bass harmonization workshop 2013

For Antares, I like how it sounds even if in some parts I would have done things differently; I wouldn't know what to suggest in the sense that I don't know if you wanted to adhere to the rules of harmonization in a scholastic sense.

If that were the case, I noticed for example several octave jumps between extreme parts, but since the piece is instrumental, I don't know what sense a limitation in this regard would have.

I don't mind what came out... except for the ending which I don't like too much..... it is not a strictly academic harmonization, no.... even if it is in real 4 parts

@antares

I took a look at Antares' harmonization; in my opinion, it can be greatly improved.

Given that the bass has the first and last 4 bars identical, it wouldn't be bad to play around with them to enrich the second presentation a bit. I say this because I noticed you tried and used the minor fourth at the close; since you used the Bb, why not exploit it in the penultimate bar as a minor ninth during the harmonization of the C dominant, and eliminate the anticipation of the major C third in the last bar (the note E).

Speaking of anticipations, I noticed that you tried to use them more or less effectively... I would revise those to give the piece a bit more flavor... and if you really must dare... dare. There were more strategic points to place them. It's clear that the context can change, but if you are going to use them ineffectively, then it is better to rely on other devices.

Another thing that I think should not be underestimated is the relationship between bar 8 and bar 16; you found a more effective and interesting solution at 8 compared to the end. To the triple appoggiatura, you could have "responded" in the finale with a quadruple appoggiatura or anyway a more or less varied series (and perhaps dilated, at the cost of lengthening the final C of the bass by a few values) of appoggiaturas. Thus, you could have put a beautiful closing to the second pass of the chorus.

At bar 10, I wouldn't double the E in the second chord; there are more effective solutions.

I find that one can work on other nuances and on some sequences that are a bit weak... ultimately, once the harmonic structure is established, it is just a matter of dosing a series of right little notes at the right moment

thanks frank

so I didn't use the minor ninth because.... because I haven't actually done ninth chords yet ahahahahaah, using more anticipations? mmmmm because it can't be done....

I can suggest to you (Antares) to play (sing better) the extreme parts individually at least. The bass is given, so ok... but if you play the highest voice, you will realize that all this interest is not actually aroused. Just trying to refine a few notes here is what can help you make the piece more singable and interesting. Anyway, the harmonic framework is there, so it's just a matter of working on the details.