13.2 Harmonization of melodies

Harmonizing melodies is like building a musical house. The melody is the roof, and the chords are the walls supporting it. You'll learn how to choose the right chords and arrange them to create a strong, stable structure for your tune.

Primary chords are your main building blocks. They're like the foundation, framing, and load-bearing walls of your musical house. You'll discover how to use these core chords to create a solid harmonic base that supports and enhances your melody.

Harmonic structure of melodies

Identifying chord progressions

• Melodies are typically built upon an underlying chord progression that provides the harmonic foundation
• The harmonic rhythm, or rate at which the chords change, often aligns with the melodic phrasing and structure
• Chord tones in the melody, such as the root, third, or fifth of the underlying chord, help to identify the harmonic structure
• Non-chord tones, such as passing tones or neighboring tones, can embellish the melody while still fitting within the harmonic framework (suspensions, appogiaturas)

Role of cadences

• Cadences, such as perfect authentic cadences (V-I) or half cadences (I-V), are used to conclude phrases and sections, providing clear harmonic resolution
• Perfect authentic cadences create a strong sense of finality and resolution, often used at the end of a piece or major section
• Half cadences create a sense of suspense or anticipation, often used at the end of a phrase to lead into the next section
• Deceptive cadences (V-vi) can be used to extend phrases or create harmonic variety by delaying the expected resolution

Primary chords for harmonization

Tonic, subdominant, and dominant triads

• The primary chords in a key are the tonic (I), subdominant (IV), and dominant (V) triads
• In major keys, primary chords are built on scale degrees 1, 4, and 5, and are all major triads (C, F, G in the key of C major)
• In minor keys, the tonic (i) and subdominant (iv) are minor triads, while the dominant (V) is a major triad (a, d, E in the key of A minor)
• Primary chords are the most commonly used chords in tonal harmony and provide a strong foundation for harmonizing melodies

Relationships between primary chords

• The relationship between primary chords, such as the resolution of V to I or the plagal motion of IV to I, creates a sense of harmonic stability and direction
• The dominant (V) chord has a strong tendency to resolve to the tonic (I), creating a sense of tension and release
• The subdominant (IV) chord often precedes the dominant (V), helping to establish the key and provide harmonic contrast
• The plagal cadence (IV-I) creates a sense of resolution and finality, often used as an extension or "amen" at the end of a piece

Chord progressions for melody support

Common chord progressions

• Chord progressions should be chosen to support the melodic contour, phrasing, and overall structure of the melody
• Common chord progressions, such as I-IV-V-I or I-vi-IV-V, can be used to harmonize melodies effectively
• The I-IV-V-I progression establishes a strong sense of key and provides a clear harmonic foundation
• The I-vi-IV-V progression, also known as the "50s progression," creates a smooth and memorable harmonic sequence

Aligning harmonic rhythm with melodic phrasing

• The harmonic rhythm should generally align with the melodic phrasing, with chord changes occurring at phrase boundaries or important structural points
• Changing chords on strong beats or at the beginning of measures can help reinforce the melodic structure
• Holding chords for longer durations can create a sense of stability, while more frequent chord changes can create a sense of movement and tension
• Passing chords, such as ii or iii, can be used to create smooth transitions between primary chords and add harmonic interest (ii-V-I, I-iii-vi)

Smooth voice leading in harmonization

Principles of smooth voice leading

• Voice leading refers to the way individual voices or parts move from one chord to the next in a progression
• Smooth voice leading minimizes large leaps and avoids parallel fifths and octaves between voices
• Common tones, or notes that are shared between consecutive chords, should be retained in the same voice when possible to create a sense of continuity
• Contrary motion, where voices move in opposite directions, can be used to create a sense of balance and independence between parts

Voicing chords for harmonization

• Voicing chords in close position, with the notes arranged within an octave, can help maintain a compact and cohesive texture when harmonizing melodies
• The melody should generally be the highest voice, with the other voices providing harmonic support below
• Doubling the root, fifth, or octave of a chord can help reinforce the harmony and create a fuller sound
• Avoiding doubling the third of a chord can prevent the harmony from sounding too thick or muddy