Melody Writing 2 – The Nguyen Composes

Again, I challenged myself to compose as many tunes as I can, using choral style, in 2 hours. The chord progression for this time is I-IV-V-I-I-IV-V7-I.

What I learned:

  • Parallel thirds sound fine.
  • Although ending on the tonic chord, the whole tune only have a sense of finality when the melody voice ends on the tonic. It doesn’t sound so stable when the melody voice ends on the median, and even more so on the dominant.
  • Having soprano moves in contrary motion compare to bass is a good rule of thump when moving in small interval only. The underlining principle for this rule of thump is not to have parallel octaves or parallel fifths. Thus, when creating a big leap in either soprano or bass, option 1: temporary transpose them up or down by octave(s) so they are adjacent to the previous note for comparison and applying the contrary motion rule; or option 2: look at the notes of soprano and bass to see if they violate the parallel principle.
  • The leading tone in soprano should always resolve upward to tonic. That explains why melody 2 sound a bit off at the end. Instead, it would be okay for the final tonic chord of melody 2 to have 3 roots and a third.

Here they are. Have fun listening!

Audio: Melody 1; 4 measures from the beginning of Sheet 1
Audio: Melody 2; 4 measures in the middle of Sheet 1
Sheet 1
Audio: Melody 3; 4 measures at the end of Sheet 1

Audio: Melody 4; 8 measures from the beginning of Sheet 2
Audio: Melody 5; 4 measures at the end of Sheet 2
Sheet 2

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