7.3 Melodic Harmonization

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 voice leading, and add non-chord tones. 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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• Diatonic triads 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 seventh chords 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)
• Harmonic rhythm, 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
• Cadences are used to provide a sense of resolution 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 texture of the harmonization
  • Homophonic texture: melody supported by chordal accompaniment
  • Polyphonic texture: 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:
  • Passing tones: connect two chord tones by step
  • Neighbor tones: depart from and return to the same chord tone by step
  • Suspensions: prepared by a chord tone, dissonant with the harmony, and resolved down by step
  • Anticipations: occur before the chord to which they belong
  • Escape tones: depart from a chord tone by step and leap in the opposite direction
  • Appoggiaturas: dissonant non-chord tones that are approached by leap and resolved by step
  • Pedal points: 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 functional harmony
  • 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