ExampleS5,6,7 making three-par t harmony work
[Ex 5] Here, we have continued the process of applying similar motion, but choosing harmony notes that relate to the underlying chord in order to produce a three-part harmony of the same basic melody. If you take each note of the original melody within this three-par t harmony, you will see that it is now underpinned with all of the other notes from the underlying chord, with no duplications (the same note played in different par ts). For example, the first note (E, the 3rd of underlying C chord) is now underpinned by C (root of C) and G (the 5th of C). Make sure that you take time to note how this same principle is applied throughout all of the following examples. [Ex 6] This next example shows how the original melody can be harmonised using a combination of voice motions, producing a more sophisticated affect. [Ex7] As well as harmonic counterpoint (combination of different voice motions) it is also possible to create interest and balance through rhythmic counterpoint (via a mixture of different rhy thms). Note how the various chord tones in the original melody (Guitar 3) have been mirrored by a complementary chord in the other two parts. The chord tones in these other two par ts have been embellished using scale notes. The melodic embellishments from the two harmony parts are played in rhy thmic counterpoint to Guitar 3 (in other words, they occupy holes lef t by the rhy thm of the original melody line).