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

  

• 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.

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