In this lesson, we enrich the arrangement with a counter-melody in the bass using the 'sweet' third/tenth/sixth interval and walking-between-roots lines.

Here's the finished lesson performance.

Here's the full teaching video. You may find it more convenient to study using the split-up sections below.

If for some reason the videos do not display correctly, you can use the MMYT Lesson Seven playlist instead.

Finding harmonising intervals

The third is the 'sweet' interval (pair of notes); a tenth is a third plus an octave - and puts the harmonising into the bass as promised.

Walking between bass notes (and sixths)

Walking step-wise between the lowest notes of the chords is another way of making the bass line countermelody interesting.

Turning a third upside-down (inverting it) produces a sixth, which is also a harmonious interval.

The third line of music

Handling the line three C chord. You can hear how the left hand is filling up with faster semiquaver notes - but these are optional.

The big C chord (line four)

You can get the big C chord arpeggio (run of notes) in the last line by copying the MidiPiano performance or from the Concert Variations music (next lesson), or you can leave it out and just repeat the Line Three version.

The semiquaver accompaniment

The left hand texture is filling up with semiquavers, but you can play a countermelody version 'without all the fuss' using the second Lesson Six accompaniment pattern.

The scrolling MS video

The scrolling-MS video/portion of the video shows just the countermelody without any of the semiquaver texture (like the music above and in your download notes).

Make sure you understand and can play this before you start filling in the gaps with semiquaver  ('&') accompaniment notes. It's a stand-alone performance anyway.

Lesson Eight talks you through the Concert Variations performance, showing how it's built up from the tricks and textures you've learned in the Greensleeves series of lessons.

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