Portfolio commentary-MUSI181

Kailem Winter – 201662921

PortEx1

To begin harmonising I notated the notes of the scale (D major), plus the chords of the key
(D,Em,F#m,G,A,Bm,C#dim). After this I labelled the scale degrees and the roman numerals under
each chord of the key, I then wrote all the appropriate chords + their inversions correlating to each
chord of the key.

I      ii       iii   IV    V    vi   vii*

Ib    iib    I     ii      I     ii     V  
Ic    V      Ic   iib    Ib   iib        
IV   Vb    vi   IV     Ic   IV         
IVb Vc          IVb   V                 
V     iiv*b               Vb  

I then wrote out the cadential chords (Ic,Vb), Secondary chords (ii,iib,vi), primary chords (I,Ib,IV,V)
and passing chords (IVb between V-Vb), (Vc between I-Ib), (vii*b between I-Ib).

After my working was completed I began to write each scale degree above every note of the melody,
also looking out for and cadential patterns + beginning and mid-phrase patterns.

Then I wrote in each chord + inversion under each note of the melody. To begin the elimination
process I drew a line through each chord that couldn’t fit i.e. cadential and inappropriate passing
chords. To begin the second stage of elimination I drew a cross next to each chord that prevented
me from attaining ‘contrary motion’ and ‘parallel motion’. With my remaining chords, I highlighted
them, and began to begin my bassline.

To begin, I notated each root note of each highlighted chord and continued to look out for ‘contrary
motion’ and ‘parallel motion’

Now the melody is successfully harmonised

PortEx4

To begin harmonising I notated the notes of the scale (Bb major), plus the chords of the key
(Bb,Cm,Dm,Eb,F,Gm,Adim). After this I labelled the scale degrees and the roman numerals under
each chord of the key, I then wrote all the appropriate chords + their inversions correlating to each
chord of the key.

I      ii       iii   IV    V    vi   vii*

Ib    iib    I     ii      I     ii     V  
Ic    V      Ic   iib    Ib   iib        
IV   Vb    vi   IV     Ic   IV         
IVb Vc          IVb   V                 
V     iiv*b               Vb  

I then wrote out the cadential chords (Ic,Vb), Secondary chords (ii,iib,vi), primary chords (I,Ib,IV,V)
and passing chords (IVb between V-Vb), (Vc between I-Ib), (vii*b between I-Ib).
After my working was completed I began to write each scale degree above every note of the melody,
also looking out for and cadential patterns + beginning and mid-phrase patterns

Then I wrote in each chord + inversion under each note of the melody. To begin the elimination
process I drew a line through each chord that couldn’t fit i.e. cadential and inappropriate passing
chords. To begin the second stage of elimination I drew a cross next to each chord that prevented
me from attaining ‘contrary motion’ and ‘parallel motion’. With my remaining chords, I highlighted
them, and began to begin my bassline.
Please note: For this exercise I took the knowledge of what ‘cadential chords’ can’t be used and what (passing
chords) can’t be used in to account before notating them.

To begin, I notated each root note of each highlighted chord and continued to look out for ‘contrary
motion’ and ‘parallel motion’

Now the melody is successfully harmonised

PortEx3

To begin harmonising I notated the notes of the scale (Eb major), plus the chords of the key
(Eb,Fm,Gm,Ab,Bb,Cm,Ddim). After this I labelled the scale degrees and the roman numerals under
each chord of the key, I then wrote all the appropriate chords + their inversions correlating to each
chord of the key.

I      ii       iii   IV    V    vi   vii*

Ib    iib    I     ii      I     ii     V  
Ic    V      Ic   iib    Ib   iib        
IV   Vb    vi   IV     Ic   IV         
IVb Vc          IVb   V                 
V     iiv*b               Vb  

I then wrote out the cadential chords (Ic,Vb), Secondary chords (ii,iib,vi), primary chords (I,Ib,IV,V)
and passing chords (IVb between V-Vb), (Vc between I-Ib), (vii*b between I-Ib).

After my working was completed I began to write each scale degree above every note of the melody,
also looking out for and cadential patterns + beginning and mid-phrase patterns

Then I wrote in each chord + inversion under each note of the melody. To begin the elimination
process I drew a line through each chord that couldn’t fit i.e. cadential and inappropriate passing
chords. To begin the second stage of elimination I drew a cross next to each chord that prevented
me from attaining ‘contrary motion’ and ‘parallel motion’. With my remaining chords, I highlighted
them, and began to begin my bassline.
Please note: For this exercise I took the knowledge of what ‘cadential chords’ can’t be used and what (passing
chords) can’t be used in to account before notating them.

To begin, I notated each root note of each highlighted chord and continued to look out for ‘contrary
motion’ and ‘parallel motion’

Now the melody is successfully harmonised