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: 1 2 3 4 5 6 7 chord choices: I ii iii IV V vi viiº vi viiº I ii iii IV V IV V vi viiº I ii iii if next note is down a step: ii7 iii7 IV7 V7 vi7 viiø7 IN MINOR: scale degree in melody: 1 2 ()3 4 5 ()6 6 ()7 7 chord choices: i iiº III IV V VI viº ()VII viiº VI viiº i iiº III iv IV v V iv ()VII VI viiº i iiº ii III III+

V ()VII (=V+) if next note is down a step: iiø7 III7 iv7 V7 vi7 viiº7 viiø7

some guidelines for harmonic progressions

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

expanding a simple progression in major in minor

The simplest complete progression is dominant to tonic: V–I V–i You can add a chord in order to begin on the tonic: I–V–I i–V–i You can also add a pre-dominant chord that sets up the dominant: I–ii–V–I i–iiº–V–i

I–IV–V–I i–iv–V–i I–vi–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 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.