Ex­am­pleS5,6,7 mak­ing three-par t har­mony work

Guitar Techniques - - Lesson: Creative Rock -

[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).

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