Harmony: Using Primary Triads

In class, we used the melody, "Michael, Row the boat ashore" as a first example, using primary triads to create a four part vocal arrangement.  You will find it on our worksheet for this topic.

Write the primary triads in C major, labeling them I, IV and V.

Write the melody out, with all stems pointing upwards.  This will be your Soprano part.  Then, follow the steps below to provide a simple harmonization in four part vocal style using the primary triads.

1. Familiarise yourself with the RULES TO FOLLOW [see below].
2. Identify which triad[s] can be used to harmonize each note.
3. Write the root of each chord in the bass, stem pointing down.  This will be the Bass part.  Check for consecutives [see rule 4].  If you get this right now it is much easier to complete the internal parts.
4. Are there any places where it would be appropriate to write a FIRST inversion chord for a little variation?  If you make any changes, check for consecutives again.  [Second inversions should only be used in very specific ways you don’t know about yet].
5. Insert the Alto [stems pointing down on the treble clef] and Tenor [stems pointing up on the bass clef].  You will find this easiest if the two inner parts are as BORING AS POSSIBLE, that is, making frequent use of repeated notes and small steps.  Rewrite the Bass as necessary as you go, checking for consecutives with the Soprano if you make any changes.
6. Check all possible pairs or parts to make sure that you have not written consecutive fifths, unisons or octaves.  Pay special attention to the pairs that use different clefs, as these are hardest to spot (Soprano-Tenor, Soprano-Bass, Alto-Tenor, Alto-Bass).

RULES TO FOLLOW:

1. Each part should adhere to the notes of its own range.
2. Every chord must contain its root and its third.  The fifth of the triad is optional.
3. You may double the root or the fifth, but you may not double the third.
4. You must avoid consecutive perfect fifths, unisons and octaves at all times.  That is, no two parts should move in such a way that they are a fifth, octave or unison apart for two consecutive chords.  However, two parts MAY repeat the intervals of a fifth, unison or octave (that is, they may repeat the same notes).
5. There should be no more than an octave between the Soprano and the Alto or between the Alto and the Tenor.  However you may have any distance between the Tenor and the Bass.
6. Parts cannot CROSS.  That is, every chord should have the Soprano on the top, Alto underneath, Tenor underneath that, and Bass at the bottom.
7. Parts cannot OVERLAP.  That is, two parts MAY sing the same note, and they may repeat it, but they should approach it and leave it in opposite directions (alternatively, one may repeat it again while the other approaches and / or leaves it from its own direction).

You will find the worksheet for this session here:
https://docs.google.com/file/d/0B9JdpU-tw7FuRDlra05mU3BGNDQ/edit?usp=sharing