HC

Chapter 9 - Harmonic Progression and Harmonizing a Melody

Harmonic Progression

  • Harmonic progression - The process of relating chords within the scale to where they naturally lead.

  • Progression - When the harmonies proceed from a stable beginning (tonic function), move forward through progressively more active chords (predominant and dominant function), including seventh chords to end (resolve) with stability.

Circle Progression

  • Circle progression - The movement of chords where the root of each chord is a diatonic fifth above the next chord.

    • Strongest motion in tonal music

    Full Circle of Fifths progression

  • The most common use of the vii° triad is in first inversion (vii°6) resolving to I or I6.

  • Progression by thirds - The movement of chords where the root of each chord is either up or down by a third.

  • Progression by seconds - The movement of chords where the root of each chord is either up or down to the next note in the scale.

How Does Inversion Affect the Function of a Chord in a Progression?

  • The more a chord is inverted, the weaker its function or the more it functions like another chord.

  • Types of second inversion chords

    • Passing
    • Pedal
    • Arpeggiated

    • Cadential

PROgression vs. RETROgression

  • RETROgression - When harmonies move backwards from this concept T-D-S-T (a root position V to a root position IV).
    • Don’t follow V with IV, ii6 or ii6/5.
    • Don’t follow vi (VI) with I (i) because the tonic chord is more stable, less tense than IV.
    • Don’t follow ii with IV. They’re not equal in tension.

Harmonic Rhythm

  • Harmonic rhythm - The rate at which harmony changes.
    • There’s no rules for this.

Fundamentals of Melodic Harmonization

The Process of Harmonizing a Melody

  • Identify the notes of the melody with either scale degree numbers or solfege.
  • Do the cadences first.
    • Cadences end with I (i), vi (VI) or V only, so the chord symbols at the fermatas should only be a I, vi or V (i, VI or V in minor).
    • Use root position chords for the final two chords in each of your cadences.
  • Use the same process used to create an implied progression from the bass line to create a viable progression that goes with the melody.
    • Don’t invert needlessly
    • Don’t use seventh chords excessively
    • Don’t use root-position vii° chords
    • Don’t use non-chord tones excessively in the bass line
    • Don’t use second inversion triads unless you understand the function
  • Identify any notes out of the key and what that implies.
  • Connect the dots between melodic patterns and implied harmonies.