Module 7 mini-test
1. If melody note is E in C major, which diatonic triads contain it?
2. Does every melody note need to belong to the current chord?
3. Why shouldn't you change chord on every melody note?
4. If melody note is C, name three diatonic chords that can support it in C major.
5. What three chords should you try first when harmonizing a simple major-key melody?
6. Why might Dm be a better choice than Am before G7?
7. What is a passing tone?
8. What is a neighbor tone?
9. If the chord is Am and melody note is C, give a right-hand voicing with C on top.
10. What is the first thing to establish before sophisticated reharmonization?
Answers
- C, Em, Am
- No. It may be a passing tone, neighbor tone, suspension, or extension.
- Harmony usually changes more slowly than the melody; excessive changes can sound restless and obscure phrase structure.
- C, F, Am
- I, IV, V/V7
- Dm has predominant function and naturally prepares G7.
- A non-chord tone that moves stepwise between more stable notes.
- A note that moves away from a stable note by step and returns.
- E–A–C
- A simple functional harmonic skeleton that already supports the melody.
The main lesson is:
Harmonization is not finding “the chord hidden inside the melody.” It is choosing a harmonic interpretation of the melody.
In Module 8, we'll take the chord progressions you can now create and turn them into actual piano accompaniment: block chords, broken chords, arpeggios, Alberti bass, waltz, pop-ballad patterns, stride-style movement, and how to make the left and right hands cooperate without sounding mechanically repetitive.