Melodic harmonization is the art of adding chords to a melody. It's like giving your tune a cozy home of harmonies. This skill helps you create richer, more interesting music by supporting the melody with complementary chords.
In this part of melodic construction, we'll explore how to choose the right chords, use , and add . We'll also look at how melody and harmony interact in different musical styles.
Harmonizing melodies with triads and seventh chords
Diatonic triads and seventh chords
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are built on each scale degree of a key and consist of a root, third, and fifth
The quality of each triad is determined by the intervals between these notes (major, minor, diminished)
Diatonic are formed by adding a diatonic seventh above the root of a triad
The quality of the seventh chord depends on the quality of the triad and the added seventh (major seventh, minor seventh, dominant seventh, half-diminished seventh, fully-diminished seventh)
Harmonization techniques and considerations
Harmonizing a melody involves assigning chords to accompany each melody note
The melody note should be a chord tone of the accompanying harmony (root, third, fifth, or seventh)
Common chord progressions can serve as a framework for harmonizing melodies in a given key (I-IV-V-I, ii-V-I)
, the rate at which chords change, affects the overall character and flow of the harmonization
Faster harmonic rhythm creates a sense of movement and tension
Slower harmonic rhythm creates a sense of stability and relaxation
are used to provide a sense of or closure in melodic harmonization
Perfect authentic cadence (V-I) provides a strong sense of resolution
Plagal cadence (IV-I) provides a sense of rest and finality
Voice leading principles in harmonization
Smooth voice leading
Voice leading refers to the smooth and logical movement of individual voices or parts within a harmonic progression
The melody should be supported by the harmonization, with the accompanying voices moving in a way that complements the melodic line
Common voice leading principles include:
Avoiding parallel fifths and octaves to maintain the independence of voices
Preferring contrary and oblique motion to create a sense of balance and coherence
Resolving tendency tones properly (leading tone resolves to tonic, chordal seventh resolves down by step)
Texture and voice considerations
Proper voice leading helps maintain the independence of individual voices while creating a cohesive and harmonious sound
Voice leading considerations may vary depending on the of the harmonization
: melody supported by
: multiple independent melodic lines interweaving
The number of voices involved (e.g., four-part writing) also affects voice leading choices
Ensuring each voice has a smooth and logical progression
Avoiding voice crossing and overlapping to maintain clarity
Non-chord tones and embellishments in harmonization
Types of non-chord tones
Non-chord tones are pitches that do not belong to the prevailing harmony but are used to add interest, tension, or variety to the melodic line
Common types of non-chord tones include:
: connect two chord tones by step
: depart from and return to the same chord tone by step
: prepared by a chord tone, dissonant with the harmony, and resolved down by step
: occur before the chord to which they belong
: depart from a chord tone by step and leap in the opposite direction
: dissonant non-chord tones that are approached by leap and resolved by step
: sustained or repeated notes that may be consonant or dissonant with the changing harmony
Treatment and context of non-chord tones and embellishments
Non-chord tones can be diatonic (belonging to the key) or chromatic (outside the key)
They can occur on strong or weak beats, depending on their function and desired effect
The treatment of non-chord tones depends on their type and context
Suspensions are typically prepared by a chord tone, dissonant with the harmony, and resolved down by step
Passing tones and neighbor tones are usually approached and left by step in the same direction
Embellishments, such as trills, turns, and grace notes, are ornamental figures that decorate the melody without significantly altering the underlying harmony
The use of non-chord tones and embellishments should be stylistically appropriate and not obscure the clarity of the melodic line or the harmonic progression
Melody and harmony relationships in different styles
Classical and jazz/contemporary pop styles
In classical music, the harmony often supports and enhances the melody, with the melody being the primary focus
Clear and singable melodies
Harmony provides a foundation and expressive context for the melody
In jazz or contemporary pop, the harmony may take a more prominent role, with the melody being shaped by or interacting with the harmonic progression
Melodies may be more angular, syncopated, or improvisatory
Harmony may include more complex chords, extensions, and alterations
Analyzing melody and harmony relationships
Analyzing the relationship between melody and harmony involves identifying:
Key and mode (major, minor, other scales)
Chord progressions and cadences
Use of non-chord tones, embellishments, and voice leading techniques
The analysis should consider how these elements contribute to the overall character and style of the music
Comparing the treatment of melody and harmony across different musical examples can provide insights into the compositional techniques and aesthetic values of various styles and periods
Baroque period: contrapuntal textures, ornamented melodies, and
Classical period: balanced phrases, clear melodies, and diatonic harmony
Romantic period: expressive melodies, chromatic harmony, and rich textures
20th-century and contemporary: diverse approaches, including atonality, serialism, and extended techniques