When writing a four part harmony, is it not possible to repeat the pentatonic tone?

There are three notes in the triad, and when we apply it to the four harmonies, we need to repeat at least one note: the in-situ position of the triad usually repeats the root note, written as a dense and open arrangement, and there are six arrangements: (The upper three voices are arranged next to each other in pitch is the dense arrangement, such as the first.)

one, three, five chords; Otherwise, it is an open arrangement, such as the first.

Second, fourth, sixth chords. )

The first inversion of a third chord, a sixth chord that usually repeats the root or fifth tone, is written in a dense and open arrangement, and there are four arrangements: (第.

1. The three chords are mixed because the upper three voices are arranged both separately and adjacently; Clause.

The second and fourth are the open arrangement method. )

The second inversion of the third chord, the fourth and sixth chords, which usually repeat the pentatonic tone, are written in a dense and open arrangement, with a total of six arrangements: (第.

The first, third, and fifth chords are densely arranged; Clause.

The second, fourth, and sixth chords are open arrangement. )

The essence of harmony is the progression of voices.

It's okay to do a good repetition of the pentatonic note, preferably on a relatively weak beat, otherwise empty.

Remember: one rule is subject to another rule that is more important than it!

OK. Pure fifths are perfectly harmonic intervals. Pure fourths are fine.

There are no special rules, and if you repeat the pentatonic note in the lower voice, it is a 46th chord.

The bass, alto, tenor, and treble are one, two, three, and four voices, respectively, and the four-part harmony is a basic way of harmonic organization.

Harmony is generally composed of four voices: "treble", "alto", "tenor" and "bass".

In the staff of writing harmony, the treble is at the top, the bass is at the bottom, and the middle and tenor are at the middle and open. Therefore, the two voices of the treble and the bass room are often referred to as the "outer voice", while the midrange and tenor voices are called the "inner voice".

The treble part is generally the main melody part; The two inner voices are mainly arranged harmonies, also often referred to as "fill voices". In the process of harmony and connection, the inner voice part is required to be full and stable, and the voice is not allowed to intersect.

The bass part is always the lowest note in the harmony and determines the root tone, so it not only plays a fundamental role, but also leads the direction of the harmony, and its role is very important.

Harmony is a dynamic concept. First of all, harmony should only be applied to polyphony with multiple voices**. The so-called polyphony** means that each part of the music is an independent melody, and there is no distinction between each other.

This is different from the main key**, where only one voice is used as the main melody and the other parts are present as accompaniment to the main melody.

Harmony and chords, although they have something in common in the organization of musical sounds, are actually two different concepts. In contrast, chord is a broader, more fundamental concept, a way of organizing pitch relationships in music—usually starting with a specific note (root) and organizing a number of notes (usually three or four) according to certain interval relationships (usually thirds, fifths, and sevenths).

These sounds can be pronounced together at the same time (counterpoint chords) or sequentially in a certain order (disaggregated chords).

The principle of chords is the basis of all melody composition, including the melody construction of the tune, the relationship between the melody and the accompaniment, the counterpoint of the harmony, etc., all of which are inseparable from the application of chords.

Harmony is a dynamic concept. First of all, harmony should only be applied to polyphony with multiple voices**. The so-called polyphony** means that each part of the music is an independent melody, and there is no distinction between each other.

This is different from the main key**, where only one voice is used as the main melody and the other parts are present as accompaniment to the main melody.

In harmony, it is necessary to consider not only the longitudinal counterpoint relationship (the musical relationship between the parts at the same beat position), but also the horizontal melodic relationship (the relationship between the patterns before and after the voice). Therefore, harmony is a method of vocal fusion under the joint progress of multi-part melody.

In the main key of a single melody, there is only the concept of chords, not harmony. For harmony, there is only the counterpoint of the melodic parts, and there is no concept of accompaniment.