Harmonizing a Simple Melody (Kostka)
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108 Chapter Seven Harmonic Progression and the Sequence Harmonizing a Simple Melody Because we have so far discussed part writing only of root position chords, any melody harmonization exercises will have to be restricted to root position. For the best results, avoid using any root position diminished triads (this will be discussed in more detail in the next chapter). Your first step should be to select the chords for the very beginning and for the last two or three chords, as in Example 7-21. Example 7-21 Next, write out the possibilities for each remaining chord, remembering that every melody note can serve as the root, third, or fiſth of a triad, as in Example 7-22. Notice that we have not included the vii 。 chord as a possibility because we want to avoid root position dimin- ished triads. Example 7-22 e next step is to compose the rest of the bass line. e challenge here is to try to create a good harmonic progression while avoiding creating parallel or direct 5ths and 8ves with the melody. For example, parallel fiſths would result if we began the third measure with a I–vi progression. Aſter you are satisfied with both the bass line and the progression, the final step is to add one or two inner voices, following as much as possible the conventions that you learned in Chapter 6. A possible harmonization is given in Example 7-23.
Transcript of Harmonizing a Simple Melody (Kostka)
108 Chapter Seven Harmonic Progression and the Sequence
Harmonizing a Simple MelodyBecause we have so far discussed part writing only of root position chords, any melody harmonization exercises will have to be restricted to root position. For the best results, avoid using any root position diminished triads (this will be discussed in more detail in the next chapter). Your fi rst step should be to select the chords for the very beginning and for the last two or three chords, as in Example 7-21.
Example 7-21
Next, write out the possibilities for each remaining chord, remembering that every melody note can serve as the root, third, or fi ft h of a triad, as in Example 7-22. Notice that we have not included the vii。 chord as a possibility because we want to avoid root position dimin-ished triads.
Example 7-22
Th e next step is to compose the rest of the bass line. Th e challenge here is to try to create a good harmonic progression while avoiding creating parallel or direct 5ths and 8ves with the melody. For example, parallel fi ft hs would result if we began the third measure with a I–vi progression. Aft er you are satisfi ed with both the bass line and the progression, the fi nal step is to add one or two inner voices, following as much as possible the conventions that you learned in Chapter 6. A possible harmonization is given in Example 7-23.
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Conclusion 109
Example 7-23
ConclusionTh e last two chord diagrams on page 105 are somewhat complex, but both are based on the circle-of-fi ft hs progression. Keep this in mind while you are learning them. At the same time, be aware that Bach and Beethoven did not make use of diagrams such as these. Th ey lived and breathed the tonal harmonic style and had no need for the information the dia-grams contain. Instead, the diagrams represent norms of harmonic practice observed by theorists over the years in the works of a large number of tonal composers. Th ey do not rep-resent rules; they are just guidelines for your use in analyzing and composing tonal music.
Self-Test 7-1
(Answers begin on page 572.)
A. Complete each harmonic fragment to conform with the major-mode diagram presented on p. 105. Th e chord in the blank should be diff erent from those on either side of it. In most cases there is more than one correct answer.1. I ? vi ( or ) 4. I ? IV ( or )2. IV ? V ( or ) 5. vi ? V ( or )3. V ? IV ( or ) 6. vii。 ? V ( )
B. Bracket any portions of these progressions that do not conform to the complete major and minor chord diagrams (p. 105).1. I V ii vii。 I2. i iv i VII i V i3. I IV iii vi ii V I4. I IV ii V vi ii V I
C. Analysis. Label all chords with roman numerals and bass-position symbols. Bracket any successions of roman numerals that do not agree with the complete major and minor chord diagrams.
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112 Chapter Seven Harmonic Progression and the Sequence
F. Harmonize the melodies below by using root position major or minor (not diminished) triads in an acceptable progression. Try to give the bass a good contour while avoiding parallel and direct 5ths and 8ves with the melody. Be sure to include analysis. Finally, add one or two inner parts to make a version for SAB three-part chorus or SATB four-part chorus, as indicated.
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