Choose a coherent chord sequence
See this course’s project requirements
An original eight-bar melody arrangement with triads, a checked bass part, two voice-leading choices and a score or note-grid plus optional free notation playback.
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What to include
- Supply eight melody/chord/bass bars with explicit pitches, octaves and durations.
- Construct major/minor triads and identify root/third/fifth.
- Annotate strong-beat fit and intentional nonchord tones.
- Compare two upper-voice options with movement/common-tone evidence.
- Provide 100 word choice note and honest playback/export method.
Review and revise
Use these criteria to check your work and choose what to improve.
- Harmony: triads/membership are correctly identified.
- Parts: bass/register/duration are reproducible.
- Comparison: alternatives have exact note evidence.
- Scope: stylistic judgments and unperformed playback remain distinct.
Want more background?
The idea in everyday life
Use C, G, Am, F as the initial palette and keep one chord per bar. In this small C major study, C can provide an opening/arrival and G→C can create a familiar return. That is a model choice, not a law governing all styles. Keep notes/changes visible so a listener or reader can compare alternatives.
A sequence creates relationships across bars.
Choose a coherent chord sequence — worked practice
A sequence creates relationships across bars.
Original sequence: C|G|Am|F|C|F|G|C. Bars 1 and 8 frame C; bar 7 G moves to C. Alternate bar 6 Am changes the harmony under F, A, C, A: three tones match Am(A, C, A), but its opening F adds tension compared with F major’s full match. Record that difference rather than claiming every chord change preserves the same relationship.
1. 3.1 Choose
Write the eight supplied melody bars and the initial one-chord-per-bar sequence on a grid.
You should see: All eight bars retain their melody.
2. 3.2 Choose
Mark opening/return C positions and the G→C ending. Check membership at each strong beat and annotate the supplied passing tones.
You should see: Opening/arrival relationships are identified.
3. 3.3 Choose
Make one alternative at bar 6 or bar 3. Explain the resulting chord-tone/tension change with actual notes.
You should see: The changed chord’s membership is recomputed.
4. 3.4 Choose
Choose a version and write a two-sentence sequence rationale, preserving the original and alternative rather than asserting one universal best progression.
You should see: The rationale cites musical evidence, not only taste.
What to finish
An eight-bar chord grid and one justified alternative.
Watch for this
Choosing each bar independently while ignoring how the sequence arrives or continues.
How can I tell I understand it?
You can compare a sequence alternative using actual melody/chord relationships.
Quick knowledge check
Answer all 3 questions. Get at least 2 right and the lesson completes automatically.
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Pass the check. We’ll save the progress.
Answer all 3 questions above and get at least 2 right. You can review the explanations and try again.
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Source & access notes · checked 2026-10-01
Read institutional primary teaching text on stacked thirds, root/third/fifth and triad qualities; all melodies/chord grids here original.
Access: Public page text or PDF was opened and read through the web reader on 2026-10-01; no signup required for reading.
Reuse: Linked for further study. All LifeStarter scenarios, samples, assets and assessments are original; no source exercises or artwork are copied.
Source & access notes · checked 2026-10-01
Read economy of melodic motion, parts and piano-style voicing; course is a bounded triad study, not complete chorale-rule mastery.
Access: Public page text or PDF was opened and read through the web reader on 2026-10-01; no signup required for reading.
Reuse: Linked for further study. All LifeStarter scenarios, samples, assets and assessments are original; no source exercises or artwork are copied.
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