y sensitive point melodically. In general, the leading tone should proceed to the tonic, especially in minor, unless there is a reason&emdash;which might well be to get a complete chord by making the leading tone jump down to a chord tone.
Other sensitive points are the half step between the 4th and 3rd scale degrees in major and between the 6th and 5th scale degrees in (natural) minor. These are less compelling than the leading tone, but making progressions which use their potential to move strongly by half step from above to the 3rd scale degree in major and the 5th degree in minor will lead you to many beautiful progressions.
It is especially important to respect these tendencies in the soprano voice; use will to give the melody a very strong sense of direction.
The Tritone in the V7 chord
Major and minor with raised 7th scale degree have a tritone between the 4th and 7th scale degrees ; this interval appears in the V7 chord. When possible, resolve it so both the 7th degree and the 4th degree move by half step in contrary motion; this makes a very strong resolution.
Dissonant tones in chords
The 7th in the dominant seventh (the 4th degree of the scale) differs from every other chord tone; it produces two dissonant intervals in the V7 chord&emdash;a minor seventh with the root of the chord (scale degrees 4 and 5, a whole step apart) and a tritone with the 3rd of the chord (scale degrees 4 and 7). This dissonant tone MUST resolve down by step to the third of a tonic chord, wherever it appears in the chord; it may NOT move up by step. (The 7th can, however, be moved from one voice to another, by extending the V7 chord, before it resolves; this produces a very special effect.)
Function of the Soprano
The soprano carries the main melodic line. It needs to have an interesting contour. It is especially important to resolve tendency tones&emdash;leading tone&emdash;in the soprano voice, and to create melodic drive toward the final cadence.
Function of the Bass
The bass voice defines the succession of chords; the bass line supports the soprano voice by making explicit its harmonic meaning.
Function of Alto and Tenor
Alto and tenor complete the tones of the chord framed by the soprano and bass; their contour is less important than their role in connecting the chords.
MELODIC SHAPE + HARMONIC DIRECTION = PROGRESSION
What creates melodic shape?
An interesting contour that moves toward and ends on a tone in tonic chord (1st., 3rd or 5th note of scale) or dominant chord (5th 7th or2nd note of scale) as goal of movement. Ending on the 2nd or 7th note of the scale creates a very open effect melodically&emdash;you are a step away from the tonic note; ending on a note of the tonic triad (1st, 3rd or 5th of scale) is more closed; but a melodic phrase always sounds somewhat open unless the melodic phrase ends on the tonic note
What creates harmonic direction?
A chord progression that ends on tonic or dominant harmony; unless an unexpected effect is desired, these are the ONLY chords for ending a phrase for several centuries!
Phrases end harmonically open (on V), half cadence or harmonically closed (on I), authentic cadence; when a closed harmonic cadence on I has the tonic note in the soprano it is maximally closed, and called a perfect authentic cadence.
Ways to extend the tonic chord, from least movement to most movement away in the soprano voice from scale degrees in tonic chord (1, 3, 5) to notes to scale degrees in dominant harmony (with 7th) (5, 7, 2, 4). Note that, except for the 1, what happens in the soprano is always supported by I==>V==>I in the bass.
1. CHORDAL SKIP (I only). Move within the tonic chord in the Soprano, keep the root of the chord in the bass, harmonize the soprano with shifts in spacing and doubling of the tonic chord. Successive chordal skips can extend the tonic triad without chord change over a long period of time; in a single exercise three successive skips is a maximum
2. USE COMMON TONE (I==>V==>I) Keep the 5th degree of the scale in the soprano (5Ë5Ë5). Chord progression from I to V then back to I under