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Scales, Intervals, Common Chords, Dominant Seventh Chord and Melody Making.

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OREM'S HARMONY BOOK
CHAPTER XII
HARMONISING A MELODY CONTINUED
The Bass or lowest part and the Melody or topmost part are known as the Outer Voices.
When both Outer Voices move in the same direction, up or down, it is known a» Parallel Motion; when one Voice remains stationary and the other moves in either di­rection, it is known as Oblique Motion; if the Outer Voices move in opposite directions, it is known as Contrary Motion.
Examples :                     '
In good writing Contrary Motion is preferable (where possible); Oblique Motion is next best; Parallel, or Similar Motion is next; but, all four parts must never proceed by Parallel or Similar Motion.
Observe the foregoing Principle in all succeeding work.
Schumann has said that the Bass part should always be as smooth and flowing as the Melody itself. This is a good maxim to bear in mind from the very beginning.
The present work is most vital. It lies at the very foundation of all musical con struction. It must be mastered thoroughly before one can go further. Every chord that is written and every succession of chords must be tried out and tested, played or sung, or both. Nothing must be allowed to stand that does not sound well. This is after all, the final test.
The following melodies are to be harmonized in the manner of the preceding chapter with all the old as well as the new Principles in full force.
A#er having decided what chord to use, write the Bass Note first, and then fill in the remaining parts or voices. Look well to the motion of the Bass part.
Occasional Chords and Basses are given as an additional aid to the student in ac­quiring a smooth and fluent style. The same Chord may be used twice in succession, but the Position should change.








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