CHAPTER 2 -

Two-Port Hormonizotion 3r

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While these harmonizations n-r.ry sound ple.rsing toconl r nSs.

. There is ncl interl.llay between consonancebland and orre-rlirntl nsiorral.

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/By way of contrast, the next example shows an ineffective combination of thirds and sixthsthat produces the opposite effect. lt creates a succession of even wider intervals in theharmony part that is disconcerting and actually diverts attention from the melody.

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These examples illustrate that there is much more to writing a good harmony partthanmerely finding two notes that sound good together. For an experienced arranger, extensiveexperimentation has refined the decision-making process to the point where it is almostintuitive. However, for the novice, this procedure must be explained in detail. The followingsection presents a step-by-step method for creating an effective two-part harmonization.

Steps to Creoting on Effective Two-Port Hormonizotion| -

Exominotion of the MelodyWhen planning a harmonization, the first step should involve an examination of the melodyto cletermine the following.

1. lmportant target notes: lt is sometimes helpful to find the best harmonization fora target note and then work backwarcl. This combination of working forward andbackward helps to maintain a sense of where the line is going, and will improve thelinear aspects of the harmonization. Target notes may be identified as:

. First note of a phrase, or phrase segment

' High or low notes in a phrase

: ::';l"Tt"';:H phrase se'ment, or cacrentiar prosression.

In the next example, the target notes of "Bar Flies" are circled, and a letter is placed beloweach one to inclicate the reason for its selection.

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r42 BASIC TECHNIAUES

As mentioned earlier when discussing segment harmonizations, it is not necessary to locateevery possible segment combination. This cletailed presentation is only meant to once againamplify the point that there are literally hundreds of ways to harmonize any given phrase.

For purposes of illustration only, three harmonizations are presented that exclusively exploitone type of nrotion throughout the entire eight measures of "Bar Flies." Example 2-33 usesonly oblique moton; 2-34, contrary motion; and 2-35, contrary motion combined with theuse of unisor-rs or octaves.

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CHAPTER 2 -

Two-Port Hormonizotion

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Eramples of parallel and sinrilar nrotiorr have alreacly becn shown in examplr:s 2-1 I andt-12.

:r .lctu.rl practice, :rrr eil'ective two-part h;irmonizatiorr usually ccintains a combination o1'allt', 1.rcs oi motion. Herc are: three examples cullccl fronr the segmcnt matriccs prescntecl earliern this c,haptr-.r.

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Before concluding this chapter, it is worthwhile to mention a technique referred to asplaning. This involves "harnronizing" a melody at the interval of the perfect fourth or perfectfifth, either above or below. Actually, this is not really a harmonization, but rather a thicken-ing of the melody. lt is reminiscent of organists' use of mutation stops, which add overtonesto enrich a melodic line. This technique is best used in modal or pedal situations or in tuneswith extremely slow harmonic rhythm.

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