Workshop 105 — Composing the Harmonic World Under an Original Melody: Making Chords Feel Inevitable Instead of Merely Interesting
Workshop 104 was about writing stronger original melodies.
Now we ask the next compositional question:
Once you have a melody that works, how do you create harmony underneath it that feels like it belongs to that melody—rather than like a bag of chords chosen afterward?
This is where many otherwise good compositions become weaker.
The melody may be memorable.
The chords may individually sound beautiful.
But together they may feel:
- arbitrary
- overcomplicated
- too busy
- emotionally inconsistent
- insufficiently directional
- dependent on jazz vocabulary instead of phrase logic
The central lesson is:
Good harmony underneath an original melody is not the accumulation of attractive chords. It is the creation of a tonal environment in which the melody’s important notes, phrase destinations, tensions, and returns feel increasingly inevitable.
105.1First principleDo not begin with:105.2Melody note does not determine chordSuppose melody note:105.3Phrase context narrows choicesIf G is:105.4Level 1 — harmonize phrase destinations firstTake an 8-bar original melody.105.5Why?Because those are:105.6ExampleSuppose melody in C major.105.7Now work backwardWhat prepares G7?105.8Destination-first harmonyThis is exactly the same principle we used in:105.9Level 2 — use only three functionsFor first draft, restrict yourself to:105.10Do not write chord symbols yet if that distracts youYou can annotate:105.11Level 3 — one functional change per phrase segmentAvoid changing harmony every melody note.105.12Harmonic patience matters in compositionA melody can use:105.13Level 4 — tonic as a region, not one chordIn C major, tonic region can include:105.14Level 5 — write two bars that stay “home”Use melody over:105.15Level 6 — predominant as preparationUse:105.16Level 7 — dominant as energyUse:105.17The exact chord is secondary to directional roleThis is a major compositional discipline.105.18Level 8 — write functional skeleton before colorExample:105.19Level 9 — melody-note compatibility passNow check structural melody notes.105.20Possible responseKeep Am and embrace F as:105.21Level 10 — ask whether tension is structuralIf unusual melody/chord combination occurs on:105.22Structural dissonance needs purposeA long F over C major triad may sound like:105.23Level 11 — melody as extensionSuppose chord:105.24Level 12 — melody as 7thChord:105.25Level 13 — melody as 3rdChord:105.26Composition and arrangement interact hereIf melody supplies important chord tone:105.27Level 14 — bass-first reharmonization of your own melodyTake your melody.105.28Why this is powerfulBass supplies:105.29ExampleBass:105.30Level 15 — melody+bass testBefore adding middle notes:105.31Outer voices firstThis remains one of the strongest rules in the entire course.105.32Level 16 — contrary motionMelody rises.105.33Level 17 — parallel motionMelody and bass move together.105.34Level 18 — oblique motionMelody holds.105.35Level 19 — common-tone harmony under sustained melodyMelody:105.36Level 20 — harmony from an inner lineInstead of bass:105.37Example possibilitiesE over C.105.38Level 21 — one-note motion ruleHold most voicing.105.39Harmony can evolve by transformation, not replacementA mature progression does not always sound like:105.40Level 22 — voice-leading-first progressionChoose four voices.105.41ExampleTop four notes:105.42Level 23 — chord symbol after soundPlay/hear voice-leading.105.43Level 24 — root motion architectureRoot motion has character.105.44Circle motionD→G→C.105.45Stepwise rootsC→Dm→Em→F.105.46Chromatic rootsC→C♯°→Dm.105.47Third-related rootsC→E→A♭ etc.105.48Pedal rootsC under changing upper harmony.105.49Level 25 — root motion profileFor 8 bars choose:105.50Harmony has rhythm tooDo not only choose:105.51Level 26 — one chord per barWrite 8 bars.105.52Level 27 — accelerate toward cadenceExample:105.53Level 28 — decelerate into arrivalFast changes.105.54Level 29 — dominant prolongationInstead of rapidly changing chords near cadence:105.55This creates tension without root clutterExtremely useful.105.56Level 30 — tonic prolongationCmaj7105.57Level 31 — color rhythm versus function rhythmWrite a phrase with:105.58Level 32 — do the oppositeFour functional changes.105.59Level 33 — harmonic density and melodic densityBusy melody:105.60ExampleMelody holds G for two bars.105.61Harmony should not compete with melodic information rateThe composition has a shared complexity budget.105.62Level 34 — cadence vocabulary for original compositionYou should be able to choose cadence by emotional role.105.63Level 35 — write same phrase with five cadencesKeep melody ending constant.105.64Level 36 — melody ending determines cadence optionsMelody ending:105.65Level 37 — cadence-generated melodyReverse.105.66Harmony and melody can co-compose each otherThis is more mature than thinking one must always come first.105.67Level 38 — use one signature harmonic eventFor your original piece choose:105.68Do not turn signature into wallpaperIf special event happens every four bars:105.69Level 39 — harmonic motifA progression itself can function like melodic motif.105.70Level 40 — voice-leading motifMaybe recurring inner movement:105.71Level 41 — cadence motifEvery section closes with:105.72Level 42 — harmonic rhythm motifPerhaps important phrases always use:105.73Level 43 — harmonic restraint in A sectionKeep A:105.74Level 44 — chromatic B sectionIntroduce:105.75Contrast does not require modulationYou can change harmonic language without changing tonic.105.76Level 45 — functional A, modal BA: C-Am-Dm-G.105.77Level 46 — major A, parallel-minor BA: C major.105.78Level 47 — relative-minor BA: C major.105.79Level 48 — remote B sectionMove to:105.80Modulation should solve a form problemGood reasons:105.81Level 49 — local tonicizationYou don't need full modulation.105.82Secondary dominants as illuminationA chord becomes more important because it receives its own dominant.105.83Level 50 — tonicize the melodic climaxSuppose climax note:105.84Level 51 — tonicize structural predominantWant Dm to feel significant.105.85Level 52 — dominant chainA7→D7→G7→C.105.86Level 53 — bass line inside dominant chainGuide voice:105.87Level 54 — borrowed harmonyIn C:105.88Borrowed iv is especially effective because of voice leadingF major:105.89Level 55 — compose borrowed harmony from lineWrite:105.90Level 56 — ♭VI in minor/major mixtureIn C:105.91Level 57 — ♭VIIB♭ in C.105.92Level 58 — backdoorFm7→B♭7→C.105.93Level 59 — tritone approachDm7→D♭7→C.105.94Level 60 — passing diminishedC→C♯°7→Dm.105.95The general chromatic-harmony ruleIf you can explain the chromatic chord through a compelling line or destination, it is much more likely to sound composed rather than…105.96Level 61 — harmonic surpriseFirst establish expectation.105.97Level 62 — delayed tonicG7.105.98Level 63 — false cadenceApproach tonic strongly.105.99Level 64 — final cadence simpler than earlier onesInteresting possibility.105.100Complexity does not have to increase until final chordSometimes final simplicity is the point.105.101Level 65 — harmonic tension curveFor 16 bars, write:105.102Level 66 — tension through dominant durationHigher tension does not necessarily require stranger chord.105.103Level 67 — tension through root distanceC→D♭ creates immediate foreignness.105.104Level 68 — tension through altered tonesG7105.105Level 69 — tension through registerSame chord.105.106Level 70 — tension through densityG7 shell:105.107Level 71 — harmonic releaseAfter rich dominant:105.108Level 72 — tonic color after resolutionOr:105.109Level 73 — staggered harmonic arrivalBass C first.105.110Level 74 — melody arrives after harmonyTonic chord reaches C.105.111Level 75 — melody arrives before harmonyMelody hits C.105.112Level 76 — compose arrival orderAt important cadence, write:105.113Level 77 — write harmony that reveals mode graduallyStart C/G open.105.114Level 78 — major/minor ambiguityUse:105.115Level 79 — change identity laterFirst reveal:105.116Level 80 — sus as delayed identityUse:105.117Level 81 — tonic sus ambiguityC-G-D-F.105.118Level 82 — upper-structure harmony in compositionBass C.105.119Level 83 — upper structure as recurring colorIf piece's identity is Lydian:105.120Level 84 — altered upper structureG bass + B/F shell.105.121Level 85 — polychordal momentIf piece mostly conventional:105.122Level 86 — symmetry as transitionUse augmented/diminished sonority to weaken tonal gravity.105.123Example augmented transitionC→C+→A♭ maybe depending voice-leading/design.105.124Level 87 — diminished crossroadsB°7 can lead toward:105.125Level 88 — harmonic language consistencyA composition needs a world.105.126Harmonic vocabulary has stylistic implicationsChoose a dominant language:105.127Level 89 — harmonic constitutionBefore composing, write:105.128Level 90 — revise the constitutionAfter writing:105.129Level 91 — harmonic vocabulary by sectionA: diatonic.105.130Level 92 — harmony as characterImagine three versions of same melody:105.131Level 93 — emotional labels carefullyDo not assume:105.132Level 94 — create a harmonic “home sound”Do not merely choose tonic chord.105.133Level 95 — make departure contrast with homeIf home is:105.134Level 96 — or make dominant equally openIf entire piece is floating:105.135Level 97 — design “home / away / far away”Choose:105.136Level 98 — write a 16-bar harmonic journeyBars 1–4: home.105.137Level 99 — don't make “far away” too earlyIf you establish C for only one beat and immediately go remote:105.138Level 100 — harmonic memoryIntroduce:105.139Level 101 — transform recurring chordFirst A♭maj7.105.140Level 102 — foreign chord becomes new homeEarly:105.141Level 103 — foreshadow future keyIf B section will be E♭:105.142Level 104 — future tonic as upper structureC bass with E♭ triad above.105.143Level 105 — future key through melodyMelody emphasizes:105.144Level 106 — composition from cadencesWrite three cadences first:105.145ExampleBar 8: half cadence.105.146Level 107 — cadence progressionFirst cadence: G7.105.147Level 108 — write B section from cadence destinationSuppose B must end:105.148Backward composition againDestinations reduce decision overload.105.149Level 109 — compose without chord symbols for 10 minutesPlay melody.105.150Level 110 — compose from chord symbols deliberatelyThen do opposite.105.151Level 111 — melody-first versus harmony-first auditDoes melody-first version feel:105.152Level 112 — forbid your favorite chordIf you love:105.153Level 113 — forbid V-IWrite tonal piece with no conventional V-I.105.154Level 114 — use only V-IOpposite.105.155Level 115 — four-chord limitChoose four chords only.105.156Level 116 — one-bass-note limitC pedal for 16 bars.105.157Level 117 — one-upper-triad limitRH C major triad.105.158Level 118 — common-tone constraintEvery chord must share at least one note with next.105.159Level 119 — semitone voice-leading constraintAt every chord change:105.160Level 120 — no root leaps larger than fourthFor one piece.105.161Practice Loop A — three-function harmonizationTake original 8-bar melody.105.162Practice Loop B — bass-only reharmKeep melody.105.163Practice Loop C — inner-line harmonyChoose one chromatic inner voice.105.164Practice Loop D — one functional skeleton, four surfacesSkeleton:105.165Practice Loop E — five cadencesSame final melody.105.166Practice Loop F — harmonic rhythm onlyKeep same chords.105.167Practice Loop G — tonal ambiguityWrite first 4 bars with no 3rd of tonic.105.168Improvisation Challenge 1 — harmonize after singingSing an original 4-bar melody.105.169Challenge 2 — no chord change unless function changesThis dramatically slows harmonic rhythm.105.170Challenge 3 — every chromatic chord must have a lineIf using non-diatonic chord:105.171Challenge 4 — every secondary dominant must spotlight something importantNo casual V/x.105.172Challenge 5 — final cadence simpler than everything beforeWrite highly chromatic middle.105.173Challenge 6 — no dominant chordWrite a convincing ending without V.105.174Ear Drill — function before qualityPlay random:105.175Ear Drill — same function, different colorCompare:105.176Ear Drill — same melody, different harmonyHold melody G.105.177Ear Drill — voice-leading sourcePlay F→Fm→C.105.178Ear Drill — harmonic rhythmPlay C-Am-Dm-G.105.179Ear Drill — deceptive expectationEstablish G7→C twice.105.180Mini-project 1 — harmonize your Workshop 104 melodyTake one original melody from Workshop 104.105.181Mini-project 2 — one melody, four harmonic worldsSame original melody.105.182Mini-project 3 — bass-generated pieceWrite:105.183Mini-project 4 — harmonic motif pieceChoose one recurring progression:105.184Mini-project 5 — harmonic geographyDesign:105.185Mini-project 6 — cadence-first compositionWrite three cadences:105.186The deeper harmonic lessonHarmony is not fundamentally:105.187The deeper melodic lessonA melody note does not need a chord because it exists.105.188The deeper bass lessonBass is often the fastest path from:105.189The deeper voice-leading lessonA progression that looks unusual on paper can sound inevitable if:105.190The deeper form lessonHarmonic language itself can create form:105.191The deeper compositional lessonA strong chord progression is rarely strong because:105.192The editing questionFor every non-obvious chord ask:105.193The inevitability testPlay the phrase.105.194The surprise testSurprise is allowed.105.195The three-pass harmony workflowFor an original melody:105.196The mature harmonic-composition questionNot:•Workshop 105 mini-test1. Why is “Which chord contains this melody note?” usually an insufficient composition question?
← PreviousWorkshop 104 — Writing Strong Original Melodies: Motif, Contour, Repetition, Tension, Climax, and How to Make a New Tune Feel Inevitable Instead of RandomNext →Workshop 106 — Composing Bass Lines That Carry the Piece: Root Motion, Counterpoint, Groove, Inversions, Pedals, and Bass as a Source of Harmony