Harmonizing a Melody

MUTH 151: Theory and Analysis 2 Professor N. Biamonte Winter 2012 HARMONIZING A MELODY 1. Identify the key. Take into consideration:  key signature  accidentals  final note 2. Find the cadence point and write in the cadences. Cadences normally occur at the end of a phrase, in a metrically strong position using root-position chords. 1: PAC or IAC (or DC or PC) 2: HC 3: IAC (or DC or PC) 4: no diatonic cadence (PAC or IAC IV, PAC II, etc.) 5: HC or IAC (or PC) 6: (DC) 7: HC Deceptive cadences (DC) may only be used if the following cadence is nearby and is a PAC. Plagal cadences (PC) may only be used after an authentic cadence.

3. Find the most appropriate harmonic rhythm , and fill in the harmonies. As a rule, chord changes should be on strong beats. Downbeats should not continue the harmony from the end of the previous bar. Melodic leaps are often between two chord tones of the same harmony. A quick guide to harmonizing melodic scale degrees: Any scale degree can be the root, third, or fifth of a triad or a seventh chord. If the next note moves downward by step, the note can also be treated as the 7th of a seventh chord. IN MAJOR: scale degree in melody: chord choices:

if next note is down a step: IN MINOR: scale degree in melody: chord choices:

if next note is down a step:

1 I vi IV ii7

2 ii viiº V iii7

1 i VI iv

() 2 3 iiº III viiº i () VII VI V III7 iv7

iiø7

3 iii I vi IV7

4 IV ii viiº V7

5 V iii I vi7

4 IV iiº viiº () VII 7 V

5 V III i vi7

6 vi IV ii viiø7

7 viiº V iii

6 VI iv iiº



viiº7

viiø7

()

6  viº IV ii

()

7 () VII v III



7 viiº V III+ (=V+)

some guidelines for harmonic progressions I or i ii(º) iii III IV or iv V vi or VI () VII viiº

can go to any other chord in the key. usually goes to the dominant, but can also go to a tonic-function chord, esp. if passing (in major): moves to IV, or by 5th to vi or viiº (in minor): functions as tonic; can go to any other chord usually goes to the dominant, but can also go to a tonic-function chord goes to the tonic, or the submediant in a deceptive cadence pre-dominant or tonic substitute; can go to any other chord most commonly functions as V/()III going to ()III, or to ()VI in descending progression goes to the tonic, or V(7) and then the tonic

expanding a simple progression

in major

The simplest complete progression is dominant to tonic: V–I You can add a chord in order to begin on the tonic: I–V–I You can also add a pre-dominant chord that sets up the dominant: I–ii–V–I I–IV–V–I I–vi–V–I You can use all the pre-dominants in a descending chain of 3rds: I–vi–IV–ii–V–I

in minor V–i i–V–i i–iiº–V–i i–iv–V–i i–VI–V–i i–VI–iv–iiº–V–i

Diagram of harmonic progressions in major: (more restrictive than the list at the top of the page)

Diagram of harmonic progressions in minor: (more restrictive than the list at the top of the page)

4. Write a bass line. Use inversions and ornaments to smooth out the line (it’s fine if it is still more disjunct than the melody). Be careful with your inversions, as they are less stable than root-position chords. Aim for a mix of parallel and contrary motion with the melody. 5. Fill in the inner voices. See the handout on voice-leading for further details.