Professional Documents
Culture Documents
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:
1
I
vi
IV
ii7
2
ii
vii
V
iii7
1
i
VI
iv
()
2
3
ii
III
vii
i
()
VII VI
V
III7
iv7
ii7
3
iii
I
vi
IV7
4
IV
ii
vii
V7
5
V
iii
I
vi7
4
IV
ii
vii
()
VII
7
V
5
V
III
i
vi7
6
vi
IV
ii
vii7
7
vii
V
iii
6
VI
iv
ii
vii7
vii7
()
vi
IV
ii
()
7
()
VII
v
III
7
vii
V
III+
(=V+)
in major
in minor
Vi
iVi
iiiVi
iivVi
iVIVi
iVIiviiVi
4. Write a bass line. Use inversions and ornaments to smooth out the line (its 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.