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This is from an arrangement of Den blostertid nu kommer. It ends with wrong ending. You are not supposed to let bass and soprano move to F like this. You must use contrary mototion. So bass moves down to F (not up). Why would an organist play it the wrong way. To me it just looks and sounds like a beginner of harmony came up with this. It is weird to me. What is going on? It soynd way better with bass moving down to F.
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Teacher's hat on for a moment. I'll set you a task. Rewrite the last line the way you think it should be and explain your reasons why your way is better. :)
And the resulting image will be the right way up please!It's not what you play. It's not how you play. It's the fact that you're playing that counts.
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Where have you got your "rules" from?
No problem with the music here: the soprano moves by step.Comment
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I asked this question before in another thread and I will ask it again.
--- How much harmony have you studied so far? And have you learned from books, classes or private instruction? Or other?
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So much to unpack here. The first thing being context. This is not an organ composition! It is vocal. There is no way for the Bass to arrive at that F through a contrary motion and dropping the Bass down to the lower F would open the chord to an unacceptable degree. Next thing is the strongly held opinion of the poster given their obvious lack of extensive background. Where does that come from? Wrong? How would they know? What are your objectives Henrik? To become an organist or a composer? Or both? Whatever it is more of an open mind would be helpful, I think.Comment
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This ending is absolutely fine.
I would like to know a bit more about your musical background, too, henrik.hank
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Why wouldn't a bass be able to sing that note? It is in the bass range. Are you saying that it is too low for some baritones? They put bass and baritone together and called it bass. A basso profundo should find that F pretty easy but some baritones might find it too low, I guess.Originally posted by Leisesturm View Post
I find the lower F better for the organ. Do you dissagree?
If it is a vocal performance the Soprano sings too low. She sings down to middle C which is low. I find the key of G much better. I feel sorry for all the sopranos who have to sing too low. In silent night a soprano might sing down to Bb3. This is too low for a soprano ie a soprano who sings tge melody.
I have studied harmony by taking lessons in piano, organ and singing. I do not have a degree in music. I just know some basic stuff.
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I actually did try a course a a umiversity but it was really weird. The teacher bassically just stood in front of the class and told us the students about harmony. We were also given exercices to do in the classroom. All we had was paper and pen, ie no keyboard at all. It just sounds like the teacher wanted us to learn a lot of grammar. Drilling grammar.Originally posted by regeron View Post
Did I finish the class? Obviously no. Harmony cannot be taken away from the keyboard or the singing voice. This was some years ago. Back then I didn't know how bad studying harmony at university could be. When you take away harmony from your instrument it won't work.
What is the best way to learn harmony?Comment
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You would be amazed at the range some sopranos have. I am a soprano. Using American naming convention, my voice goes from e3 to d6 (in Germany, we'd say e to d'''). I used to get to f6 when I was younger. Of course, tessitura is different, but that's more relevant for my solo activities than for choral singing.Originally posted by henrik.hank View Post
And in many choirs there are people who're not professional singers and some elderly sopranos I know find it hard to even catch the f5, so... having them sing in F major and going "down" to the c4 is totally fine.
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Take a course at a university and complete it. Then re-read your questions above.Originally posted by henrik.hank View Post
MichaelWay too many organs to list, but I do have 5 Allens:- MOS-2 Model 505-B / ADC-4300-DK / ADC-5400 / ADC-6000 (Symphony) / ADC-8000DKC
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You could try working through a book. What about this one? https://www.amazon.co.uk/Harmony-Pra.../dp/1854728334Originally posted by henrik.hank View Post
You need to be able to read music and hear it in your head. When I was studying music (a long time ago) we never used keyboards and had to write exam compositions in exam conditions without access to keyboards. J.S. Bach was very scathing about those who composed at the keyboard.
It's different now, I know, and I normally do use a keyboard for composing (though I don't do that much) but I often start off without.
If you want to follow the rules I think you need to check up on what they are commonly said to be.
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Is the book by tchaichovsky good?Comment
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Are you saying that I need to study without a keyboard as well? Is it important? What is it that I should do when studying with pen and paper that studying with a keyboard wont do?Originally posted by Peterboroughdiapason View PostComment
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Being able to read a score (i.e. "hear" music in your head just by reading it) is a very important skill. How on earth can you conduct a choir unless you can read the score and know what they should be singing?Originally posted by henrik.hank View PostComment
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I spent one semester in a local feeder college as a Music Major. One of my classes was a theory class. I had already been the organist for the church I grew up in for years. The music was in my body. I don't have perfect pitch but rather something close to it. I can easily look at music and 'hear' it in my mind. The professor explained the same 'rules' of harmony and voice leading that we all now know and gave us a made up Chorale Tune to harmonize. As we were working, no keyboards around, they weren't even mentioned for this particular class. The professor looked at what I had done, took the notepaper from me, went into his office and came back out with copies enough for the entire class and we all sang my four part harmonization on the spot. :-BComment
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Similar to Leisesturm, my music theory classes put names to what I had already been doing for years, and "corrected" some mistakes I had learned. Our final dictation exercise was to write a 4-part homophonic piece (presumably a hymn) just by listening to the teacher play it somewhere between 4-6 times ONLY on the piano.
Hearing the written music in your head, and knowing what something will sound like without being tied to a piano is an ABSOLUTE MUST for a professional musician. Of course, there are always exceptions to that rule as well, as there are always exceptions to other given rules.;-)
Michael
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