Add a bass that states the harmony
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.
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The idea in everyday life
Begin with one root whole note per 4/4 bar in a lower register. This exposes the harmony without adding rhythmic complexity. Later inversions can place a third or fifth in the bass; label them accurately. In the paper note grid, specify octaves and duration so a bass entry cannot be mistaken for another melody tone.
Bass is the lowest sounding line, not necessarily the chord root.
Add a bass that states the harmony — worked practice
Bass is the lowest sounding line, not necessarily the chord root.
Original bass: C3|G2|A2|F2|C3|F2|G2|C3, each a whole note. Melody bar 1 E4, G4, E4, C4 has four quarter notes totaling 4 beats; bass C3 holds 4 beats too. Replacing bar 2 G2 with B2 uses a G triad third in the bass, so the voicing is an inversion rather than root position; write G/B if using a chord symbol.
1. 4.1 Add
Add a separate bass row with the supplied root/octave for each bar. Keep it below the melody register in this simple study.
You should see: The bass is a distinct lower line.
2. 4.2 Add
Label every bass note as a whole note lasting four quarter-note beats. Reconcile melody and bass durations by bar.
You should see: Both parts total 4 beats per bar.
3. 4.3 Add
Create a copied bar 2 with B2 instead of G2. Identify B’s role in G–B–D and label the inversion rather than renaming the chord B major.
You should see: B is the third of G, not evidence of B major.
4. 4.4 Add
Compare root-bass and inversion versions using a note grid or optional free playback. Record the actual method and preserve both parts.
You should see: The comparison uses supplied notes.
What to finish
An eight-bar bass line and one correctly labeled inversion.
Watch for this
Renaming a chord by its lowest note without checking its full pitch content.
How can I tell I understand it?
You can state bass pitch, chord root and duration separately.
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 independent musical lines and opposing-stem notation; playback/native editor is optional and not falsely reported tested.
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 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.
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