Scale Degrees

Sorry! I would like to correct the harmonization of the A melodic minor and harmonic minor scales

Harmonization A Melodic Minor Scale
Am - Bm - Cmaj7 - Dm - Em - F#dim - G#dim - Am

Harmonization A Harmonic Minor Scale
Am - Bdim - Cmaj7 - Dm - Em - Fmaj - G#dim - Am

here it is, now I am happier!

Just so as not to always explain oneself only with words, and since the heat can make one lose their head...

@Frank
if you shouldn't be here, feel free to move the post wherever you deem most appropriate.

Alright Bianca, don't worry (it's just a shame about the voicing of some chord parts)

Nice idea Bianca

Gennarino wrote:

Nice idea Bianca

thanks, even if it doesn't seem to have had much of an audience

Frank wrote:

It's okay Bianca, don't worry (it's just a shame about the arrangement of the parts of some chords)

do you mean those that form fifths or generally the fact that I put them all on a single part?

Bianca wrote:

in general, the fact that I put them all on a single part?

I am referring to the arrangement of the thirds which in some places are concentrated in the bass... where they are written might only be a graphic problem, whereas the pitches concern perception.

Bianca wrote:

it doesn't seem to have had much of an audience

I enjoyed it

Frank wrote:

I am referring to the arrangement of the thirds which in some places are concentrated in the bass... where they are written can only be a graphic problem, whereas the pitches concern perception.

could you give me an example, I'm not sure I understood

Tronky wrote:

I enjoyed it

thanks, I'm glad!

A simple example is at measure 7: it would be enough to remove the C2 from the A minor chord; you already have the C in the melody, by removing it you would also do justice to the passing notes and turn notes that you use in the melody.
Instead, I would keep the G2 of measure 6, creating continuity with the beautiful internal G pedal, and at measure 10 you would exit elegantly with chromaticism or a nice Bb turn note to return to G... or alternative solutions.

Idem for measure 8, the E2 is almost useless; in this case there are a couple of valid and alternative solutions (depending on the effect you would like to achieve).

It doesn't always happen, but many situations are similar, see the Eb2 at 15 and also other cases.

If you want to venture into the bass, widen the parts at the cost of inserting arpeggios or dividing the voices between the two hands. You can take inspiration from some Schubert Lieder, where he uses both voice and pf in the bass register but with great wisdom and balance.