(c)  FOUR-PART HARMONY
Harmonize the melody below by adding Alto, tenor and bass parts.

Candidates' performance in Melody Writing, Two - Part Writing and Four - part Harmony fell below the previous years.
Most of them failed to do justice to the question(s). This really exposed their ignorance of the technical elements of music where they were expected to have applied their knowledge of the theory of music.
To avoid this ugly development in future, candidates are advised to and 16 bars;
(2) a well-spaced even number of bars such as12, 14 should be prepared with phrase marks in either 2 or 4 - bar patterns as the care may be;
(3) they could recopy the given phrase correctly, noting the basic rhythmic and melodic features while they could also do a modified repeat of the second opening phrase in the immediate second phrase;
(4)they can also introduce a few rhythmic and melodic variations in the middle section before making a return to the
initial rhythmic pattern and melodic contour at the final phrase;
(5)modulations to the dominant, subdominant, relative minor or relative major for a melody in a minor tonality are required;
(6)ability to underlay all the syllables of the text in perfect alignment with the musical notes meant for each syllable or
word. Conscious efforts must also be made to group the texts into strong and weak syllables;
In question 1 (b), Two - Part Writing, the rhythm of the added part must show good elements of contrast. Candidates should avoid writing in same rhythm with the given part for more than one bar in a given 4 - bar phrase.
In 1 (c) Four - Part Harmony, most candidates did badly here. They used mostly primary triads in root positions and first inversions only. Six-four chords may just be sparingly used only as cadential ,passing ,auxiliary/pedal or stationary Candidates should avoid harmonizing all quavers as non-harmonic notes especially when they are together as passing tones or neighbouring tones.