The list will become more specific as we explore root position chords, chords in inversions, seventh chords, and non-chord tones. This is the general list of steps for harmonizing a melody. Make sure each chord is spelled correctly, including necessary accidentals.Resolve the leading tone whenever possible.Move upper voices in contrary motion with the bass when common tones are not possible.Second inversion triads: double the bass.First inversion triads: double anything except tendency tones like the leading tone.Root position major and minor chords: double the root.When using seventh chords, if the chordal seventh is in the soprano, it must resolve down by step in the next chord in order to support the use of a seventh chord.Second inversion chords must be one of the 4 types in order to be used in a progression, and the chord choices must support their part writing. When possible, inversions should be used in order to create a smooth bass line.The dominant and leading tone seventh chords resolve in specific ways, and therefore need to resolve to specific chords, so the melody can either support their use or prohibit their use.Use V7 in root position at cadences, and V7 in inversion within the phrase.V is always easier to part write with than vii˚.Do not use I∆7 as a substitute for tonic.Do not use diminished chords in root position.They are not used are often as the other chords. Most pieces begin and end with tonic, first to establish the key, then to bring the music home.Progression, Repetition, and Tonic motion are used most often because they create the smoothest part writing when connecting chords.For a review on cadences, see chapter 6.2.PC: not used as often as the other cadences.Half: not used as the final cadence, V7 is too strong to use at a half cadence.V-I is (and with inversions) possible within the phrase.vii˚-I (and with inversions) is possible within the phrase.vii˚ is not used because it is too weak for a final cadence.Harmonic pattern is most often Predominant-Dominant-Tonic.For review on harmonic rhythm, see chapter 6.3.It creates stagnant feel to the harmonic motion. Avoid holding the same chord over a bar line unless the harmonic rhythm is very slow.Often use a new chord for every note in the melody.Often speeds up or slows down at cadence points.For review on melodic form and phrases, see chapter 8.1.Sentence form is a common type of melodic form used with phrases and periods.Phrases can be independent or combine to form periods.Phrases (often 4 bars in length) end with a cadence.Melodic form and phrases: melodic form describes the relationship of each phrase in the overall structure of the melody.Make good to consider relative cadence strength in each phrase in order to choose a progression that makes sense. Understand melodic form, phrases, harmonic rhythm, and cadences in order to determine the phrases in a melody, the chords used to support the phrase motion, harmonic rhythm, and cadences.Elision (E): forward motion on the chart, skipping one or more categoriesĬadences, phrases, harmonic rhythm, and melodic form.Similar Motion/Repetition (S): motion within a category.Retrogression (R): moving backwards on the chart either by one or more categories.Tonic (T): motion from tonic to any other chord.Progression (P): forward motion on the chart by 1 category.
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