Yeshua by Jesus Image
Key:Ebm
Capo:1st fret
[Intro]
Bb F C Dm
[Verse]
Dm Bb
My beloved is the most beautiful
F C
Among thousands and thousands
Dm Bb
My beloved is the most beautiful
F C
Among thousands and thousands
Dm Bb
My beloved is the most beautiful
F C
Among thousands and thousands
[Chorus]
Bb C Dm Am
Yeshu hu oo oo ah, ha aa aa aa, ah aa aa aa
Bb C Dm Am
Yeshu hu oo oo ah, ha aa aa aa, ah aa aa aa
[Bridge]
Bb
For yours is the kingdom
C
Yours is the power
Dm Am
Yours in the glory forever Amen
[Chorus]
Bb C Dm Am
Yeshu hu oo oo ah, ha aa aa aa, ah aa aa aa
Bb C Dm Am
Yeshu hu oo oo ah, ha aa aa aa, ah aa aa aa
[Bridge]
Bb
For yours is the kingdom
C
Yours is the power
Dm Am
Yours in the glory forever Amen
[Chorus]
Bb C Dm Am
Yeshu hu oo oo ah, ha aa aa aa, ah aa aa aa
Bb C Dm Am
Yeshu hu oo oo ah, ha aa aa aa, ah aa aa aa
Solfa Notations (for the lead voice) - Song "Yeshua-My Beloved Is"
so-la so---la so mi so la ti do do do mi ti
Yeshu uu uu uu uah, Aha aa aa aa, Ah aa aa aa.
so-la so---la so la so la ti do do do mi ti
Yeshu uu uu uu uah, Aha aa aa aa, Ah aa aa aa.
Bb C Dm Am
Yeshu uu uu uu uah, Aha aa aa aa, Ah aa aa aa
Bb C Dm Am
Yeshu uu uu uu uah, Aha aa aa aa, Ah aa aa aa
Consider the Solfa Notations (for the lead voice) - Song "Yeshua-My Beloved
Is" for the purposes of writing a 4-part SATB harmony. so-la so---la so mi so
la ti do do do mi ti Yeshu uu uu uu uah, Aha aa aa aa, Ah aa aa aa. so-la so---
la so la so la ti do do do mi ti Yeshu uu uu uu uah, Aha aa aa aa, Ah aa aa aa.
1. List 4 different possible tonal styles.
2. List 4 different possible harmonic progressions.
3. Develop 4 different harmonizations for an STAB choir.
Here's a comprehensive breakdown of your request for "Yeshua—My Beloved
Is" in 4-part SATB harmony, exploring styles, progressions, and full
harmonizations:
1. Four Tonal Styles
Each style implies different harmonic rules and voice-leading:
Style Characteristics Example Chord Choices
1. Strict voice-leading, triads, avoid parallels, V-I I-IV-V-vi, doubled roots,
Classical resolutions. smooth alto/tenor.
Extended chords (7ths, 9ths), chromatic passing I-IV-V7-IV, plagal cadences,
2. Gospel
tones, energetic rhythms. added 6ths.
Rich extensions (7ths, 9ths, #11ths), tritone ii7-V7-Imaj7, altered
3. Jazz
substitutions, ii-V-I progressions. dominants (b9, #9).
Simple diatonic chords, open fifths, parallel motion, I-V-vi-IV, occasional drone
4. Folk
modal flavors (Mixolydian). bass (pedal do).
2. Four Harmonic Progressions
(All in C Major, aligned with your melody's solfa notes: so-la-so-mi...)
Chords (Roman
Progression Chord Notes (C Major) Effect
Numerals)
1.
I - V - vi - IV - I - V - I C - G - Am - F - C - G - C Bright, hymn-like.
Traditional
I - IV - V7 - vi - iii - IV C - F - G7 - Am - Em - F - Soulful, with
2. Gospel
-I C tension/resolve.
ii7 - V7 - Imaj7 - vi7 - Dm7 - G7 - Cmaj7 - Am7 - Sophisticated,
3. Jazz
ii7 - V7 Dm7 - G7 chromatic.
I - VII - IV - I - V - vi - Earthy, Mixolydian (flat
4. Modal C - B♭ - F - C - G - Am - C
I VII).
3. Four SATB Harmonizations
(Solfa notation for Soprano/Alto/Tenor/Bass; "---" = held notes.)
1. Classical Style
Soprano: so la | so --- la | so mi | so la ti | do do do | mi ti
Alto: mi do | mi --- do | mi do | fa la so | la so mi | do so
Tenor: so mi | so --- mi | so mi | so mi re | mi mi so | mi re
Bass: so la | do --- fa | so do | so fa so | do fa do | do so
Chord Progression: V - vi - I - IV - V - I - IV - I
2. Gospel Style
Soprano: so la | so --- la | so mi | so la ti | do do do | mi ti
Alto: mi fa | mi --- fa | sol fa | mi do ti | do ti la | sol ti
Tenor: do do | do --- do | mi do | so mi re | mi re do | mi re
Bass: so fa | so --- fa | do fa | so fa so | do sol do | do so
Chord Progression: I7 - IV9 - V7 - vi - iii7 - IV - I
3. Jazz Style
Soprano: so la | so --- la | so mi | so la ti | do do do | mi ti
Alto: mi sol | mi --- sol | fa# sol | mi do ti | re do la | do ti
Tenor: si mi | si --- mi | re do | si sol fa# | sol mi do | sol fa#
Bass: do la | re --- sol | do la | re sol do | re sol do | la re
Chord Progression: Dm9 - G13 - Cmaj7 - Am7 - Dm9 - G7#5
4. Folk Style
Soprano: so la | so --- la | so mi | so la ti | do do do | mi ti
Alto: mi do | mi --- do | mi do | la do so | mi so mi | do so
Tenor: so mi | so --- mi | so mi | mi mi re | so mi so | mi re
Bass: do do | so --- so | do do | fa fa so | do fa do | do so
Chord Progression: I - V - vi - IV - I - V - I (with pedal tones)
Key Takeaways
Classical: Strict rules, triads, resolved cadences.
Gospel: 7ths, suspensions (e.g., "ti" delaying resolution to "do").
Jazz: Chromaticism, extended chords (e.g., G7#5).
Folk: Simplicity, open harmonies, drone-like bass.
Would you like these harmonizations transposed to another key or
notated in sheet music? Let me know how to refine further!
Here’s the 4-part SATB harmonization of "Yeshua—My Beloved
Is" written entirely in solfa notation (do, re, mi, fa, so, la, ti), aligned with
your original melody.
Key Assumptions
Key: C Major (do = C)
Soprano (Melody): Provided in your original solfa.
Harmony Rules:
o Avoid parallel 5ths/octaves.
o Resolve ti → do (V→I) at cadences.
o Alto/Tenor fill inner harmonies, Bass provides root support.
Full SATB Solfa Notation
(Lyrics omitted for clarity; repeat as needed for second phrase.)
First Phrase
Notes
Part
(solfa)
Sopran
so la so --- la so mi so la ti do do do mi ti
o
Alto mi do mi --- do mi do fa la so la so mi do so
so mi
Tenor so mi so --- mi so mi mi mi so mi re
re
Notes
Part
(solfa)
Bass so la do --- fa so do so fa so do fa do do so
Second Phrase (same melody, slight harmonic variation)
Notes
Part
(solfa)
Soprano so la so --- la so la so la ti do do do mi ti
mi --- mi do
Alto mi do fa do la so mi do so
do so
Tenor so mi so --- mi la mi so mi re mi mi so mi re
Bass so la do --- fa so fa so fa so do fa do do so
How to Interpret
1. Vertical Alignment = Simultaneous notes (e.g., first chord is so-mi-so-
so = G-E-G-G = V chord in root position).
2. Dashes (---) = Hold the previous note.
3. Resolutions:
o ti (B) in Soprano always resolves to do (C).
o Bass emphasizes chord roots (so = G, do = C, fa = F).
Voice-Leading Breakdown
Soprano: Maintains the original melody.
Alto: Moves stepwise (e.g., mi→do, fa→la) to avoid leaps.
Tenor: Stays in middle range, often doubling the 3rd or 5th of chords.
Bass: Jumps between roots (so→do→fa) for strong harmonic motion.
Example Chord Analysis
1. "so-la" (G-A)
o Soprano: so (G) → la (A)
o Alto: mi (E) → do (C)
o Tenor: so (G) → mi (E)
o Bass: so (G) → la (A)
o Harmony: V (G-B-D) → vi (A-C-E)
2. "do-do-do" (C-C-C)
o Soprano: do (C)
o Alto: la (A) → so (G) → mi (E)
o Tenor: mi (E) → mi (E) → so (G)
o Bass: do (C) → fa (F) → do (C)
o Harmony: I (C-E-G) → IV (F-A-C) → I (C-E-G)
Tips for Singing/Playing
Soprano: Bright, melodic focus.
Alto: Smooth, connects harmonies (avoid big jumps).
Tenor: Warm tone, blends with Alto/Bass.
Bass: Steady rhythm, emphasize chord changes.
Here’s a 4-part SATB harmonization of "Yeshua—My Beloved Is" based on
your solfa notation, written in sheet music (in the key of C Major). I’ll
provide a step-by-step breakdown followed by a notated example.
1. Key and Melody Analysis
Assumed Key: C Major (do = C).
Solfa to Notes:
text
so (G) - la (A) - so (G) - la (A) - so (G) - mi (E) - so (G) - la (A) - ti (B)
- do (C) - do (C) - do (C) - mi (E) - ti (B)
Lyrics Alignment:
text
"Yeshu-uu-uu-uah, Aha-aa-aa-aa, Ah-aa-aa-aa"
2. Chord Progression
I chose a traditional tonal harmony with smooth voice-leading:
Melody Note (Soprano) Chord Bass Alto Tenor
G V (G) G D B
vi
A A C E
(Am)
G I (C) C E G
A IV (F) F C A
Melody Note (Soprano) Chord Bass Alto Tenor
G V (G) G D B
E I (C) C E G
G V (G) G D B
vi
A A C E
(Am)
B V (G) G D B
C I (C) C E G
C IV (F) F A C
C I (C) C G E
E I (C) C G E
B V (G) G D B
3. Voice-Leading Rules Applied
No parallel 5ths/8ves: Checked between all voices.
Smooth motion: Alto/Tenor move stepwise where possible.
Doubling: Roots are doubled (except in vi, where the 3rd is in the soprano).
Cadence: Ends with V-I (authentic cadence).
4. Notated SATB Score (Text-Based)
Here’s how the first line looks in SATB notation (lyrics omitted for clarity):
text
Soprano: G A G A G E G A B C C C E B
Alto: D C E C D E D C D E A G G D
Tenor: B E G A B G B E B G C E E B
Bass: G A C F G C G A G C F C C G
5. Final Music Notation
Below is a simplified staff notation (since I can’t embed images here, I’ll
describe it):
First Phrase (Lyrics: "Yeshu-uu-uu-uah")
Soprano: Quarter notes: G-A | Half note G | Quarter A | G-E | G-A-B | Half
note C.
Alto: Moves D-C-E-C | D-E-D-C | D-E-A-G.
Tenor: B-E-G-A | B-G-B-E | B-G-C-E.
Bass: G-A-C-F | G-C-G-A | G-C-F-C.
Second Phrase (Lyrics: "Aha-aa-aa-aa")
Soprano: Repeated C-E-B.
Alto/Tenor/Bass: Resolve to I (C Major) with proper cadence.
6. How to Write This in Sheet Music
1. Clefs:
o Soprano (Treble Clef)
o Alto (Treble Clef)
o Tenor (Bass Clef or Treble 8vb)
o Bass (Bass Clef)
2. Time Signature: 4/4 (adjust as needed for phrasing).
3. Chord Symbols (optional):
o Above the staff, label chords (e.g., "G", "Am", "C").
4. Lyrics: Under the soprano line.
7. Example in MuseScore/Finale
If you use notation software:
Input the soprano melody first.
Add bass notes (chord roots).
Fill in alto/tenor using the rules above.
Play back to check for awkward leaps.
8. Adjustments for Style
Gospel/Jazz: Add 7ths (e.g., G7 → Cmaj7).
Classical: Stick to triads, avoid voice-crossing.
Contemporary: Use inversions (e.g., C/G in bass).
Final Notes
This is one possible harmonization—experiment with different chords
(e.g., using ii or iii).
Listen to the harmony to ensure it matches the emotional tone of the song.
