Module 7 — Harmonizing a Melody
This is the first module where we move from “understanding harmony” to creating harmony under a melody yourself.
The key idea is:
A melody note does not have one correct chord. It usually has several possible chords, and your job is to choose the one that best fits the phrase and harmonic direction.
That is exactly how arranging begins.
7.1Start with melody notes as chord cluesSuppose we're in C major.7.2But don't harmonize every single melody noteThis is a common beginner mistake.7.3Start with only I, IV, and VIn C:7.4Example: melody note GSuppose the melody sits on G.7.5Example: melody note CPossible simple chords:7.6The melody can be a chord tone or a non-chord toneThis is crucial.7.7Try this at the pianoLeft hand:7.8Strong beats versus weak beatsA practical guideline:7.9Harmonic rhythm comes before chord choiceBefore choosing exact chords, decide approximately:7.10Let's harmonize a tiny melodySuppose we're in C major and the melody is:7.11Now make it richerSame melody.7.12Melody note does not equal rootThis is another big shift.7.13Use function to narrow choicesSuppose you're in C and melody note is A.7.14Harmonization is partly backward thinkingSuppose you know the phrase should end:7.15Find the cadence firstWhen harmonizing a familiar melody:7.16Melody can tell you what kind of cadence is possibleIf the final melody note is C in C major:7.17Top note controls your voicingSuppose melody note is C, chord is Am.7.18A useful beginner textureUse:7.19First harmonization strategyWhen given a melody in a major key, try this sequence:7.20Example with a held noteSuppose right hand holds C for four beats.7.21Chord tones and extensionsSuppose melody note D over C harmony.7.22SuspensionsSuppose harmony changes from G7 to C, but melody holds F briefly.7.23Passing notesSuppose chord remains C and melody:7.24Neighbor tonesMelody:7.25Don't “correct” every dissonanceA major mistake when harmonizing is to hear temporary tension and immediately assume the chord is wrong.7.26A practical harmonization testWhen choosing between candidate chords, evaluate four things:7.27Harmonize by function, not just note matchingSuppose melody notes for three bars are:7.28But alternatives are possibleSame important melody notes:7.29Compare color choicesHold melody E.7.30The bass note can rescue or ruin a harmonizationSuppose right hand melody C and harmony F.7.31Do not start with fancy chordsWhen harmonizing a new melody, avoid immediately thinking:7.32A very useful workflowTake a melody you know.7.33Let's use “Happy Birthday” as an exerciseDon't worry about matching one canonical key.7.34Second pass: add vi and iiNow allow:7.35Third pass: bass motionSuppose your harmony is:7.36Fourth pass: rhythmTake the same harmonization.7.37Harmonizing by ear without knowing the key initiallySuppose someone sings a melody.7.38The “three-chord test”For a simple tonal melody:7.39How to know when to change chordGood clues:7.40Repeated melody note can support moving harmonySuppose melody repeats G:7.41And moving melody can sit over static harmonyOpposite case:7.42First reharmonization previewSuppose original:•Homework for Module 7Spend around 30 minutes.•Module 7 mini-test1. If melody note is E in C major, which diatonic triads contain it?