Voice range problem
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- KVRist
- Topic Starter
- 467 posts since 6 Feb, 2005 from Portugal
It seems I can't write this progression in four-part without crossing any voices.
Sugestions needed.
Thank you
Sugestions needed.
Thank you
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
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- KVRian
- 1000 posts since 1 Dec, 2004
One trick I've heard you can try is to work backwards (from end to start) but I don't know if it'll help.
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
Actually I don't know how you'd even run into crossing, looking a second time at it.
There's just totally plenty of room for four voices.
This is not a difficult exercise. But to sort you, one has to see what you've done.
There's just totally plenty of room for four voices.
This is not a difficult exercise. But to sort you, one has to see what you've done.
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- KVRist
- 442 posts since 21 May, 2014
huh? the bassline goes G E A rest
and the overtones are B B A rest
...all
quarter notes....this isn't like anything complicated ...or am i missing soemthing
and the overtones are B B A rest
...all
quarter notes....this isn't like anything complicated ...or am i missing soemthing
Sincerely,
Zethus, twin son of Zeus
Zethus, twin son of Zeus
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- KVRian
- 1000 posts since 1 Dec, 2004
Soprano: B B A
Alto: G G G
Tenor: D D C
Bass: G E A
(added 7ths because they sound nice and to trip you up if you're trying to make us solve your counterpoint homework!)
Alto: G G G
Tenor: D D C
Bass: G E A
(added 7ths because they sound nice and to trip you up if you're trying to make us solve your counterpoint homework!)
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- KVRist
- Topic Starter
- 467 posts since 6 Feb, 2005 from Portugal
Ah, I knew it... the lazy student sindrome......if you're trying to make us solve your counterpoint homework!
No, I don't have any need to put someone else doing my work. I'm studying theory by myself...so, what's the point in doing that?
I've done already something like this:
B B A
G G C
D E E
G E A
and
B B A
G G C
D E E
G E A
Thank you, MadBrain, for your sugestion but I didn't learned (yet) 7th chords.
I already got my answer.
Thank you all.
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
"I've done already:"
So here, you have crossed alto and tenor? WHY?
The alto voice doing this leap of fifth is clunky not only as it creates this unnecessary issue, it's too strong for an inner voice moving to an inconclusive harmony.
Take the alto to the E and the tenor to the C, now you don't have that problem.
The most musical writing is probably:
The contrary movement is balanced and the tenor line provides relief by being a straight line; and its effect is melody-like.
I hope you are hearing these; it is about making it be music.
This is a good example of why most of us should have a course in this.
So here, you have crossed alto and tenor? WHY?
The alto voice doing this leap of fifth is clunky not only as it creates this unnecessary issue, it's too strong for an inner voice moving to an inconclusive harmony.
Take the alto to the E and the tenor to the C, now you don't have that problem.
The most musical writing is probably:
The contrary movement is balanced and the tenor line provides relief by being a straight line; and its effect is melody-like.
I hope you are hearing these; it is about making it be music.
This is a good example of why most of us should have a course in this.
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- KVRist
- Topic Starter
- 467 posts since 6 Feb, 2005 from Portugal
Thanks jancivil
I should have written:
B B A
G G C
D E E
G E A
and
B B A
G G E
D E C
G E A
In case you haven't noticed, both solutions I've posted are the same...my error.
Although it was one that I have tried before, I haven't choose your sugestion because the common tone was not maintained in the same voice. I thought this was a "rigid" rule. Now I know it isn't.
Thanks for the reply.
I should have written:
B B A
G G C
D E E
G E A
and
B B A
G G E
D E C
G E A
In case you haven't noticed, both solutions I've posted are the same...my error.
Although it was one that I have tried before, I haven't choose your sugestion because the common tone was not maintained in the same voice. I thought this was a "rigid" rule. Now I know it isn't.
Thanks for the reply.
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
I think it isn't a rule and if someone posits it as one it's the opposite of a good rule. Proscription against crossing is reasonable; in pretty much any case with this type of material it's going to produce a bad result.
The rules should lend themselves to better writing, ie., a better sounding chart. Again, instructive as to 'get a course or a tutor', someone experienced and trustworthy rather than bounce around gauging opinion.
Here it provides for the tenor line as shown, which for me works the best, as I argue above. The second one in your new post is the second thing I did, to see what was feasible without the shared note, and it isn't as good. These two are about what there is available to us and still heed 'no parallels' etc.
The rules should lend themselves to better writing, ie., a better sounding chart. Again, instructive as to 'get a course or a tutor', someone experienced and trustworthy rather than bounce around gauging opinion.
Here it provides for the tenor line as shown, which for me works the best, as I argue above. The second one in your new post is the second thing I did, to see what was feasible without the shared note, and it isn't as good. These two are about what there is available to us and still heed 'no parallels' etc.
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- KVRist
- 314 posts since 1 Oct, 2010
Are there any vids or sound clips that highlight the different ways and how they sound?
John
"B4serenity"
"B4serenity"
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- KVRist
- Topic Starter
- 467 posts since 6 Feb, 2005 from Portugal
I think you can write it in a score editor or any sequencer. Then press play.Are there any vids or sound clips that highlight the different ways and how they sound?
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- KVRist
- 314 posts since 1 Oct, 2010
Thanks guys!
John
"B4serenity"
"B4serenity"