MUS1002: Music Theory II

How to harmonize a melody (summary):

  1. Determine key and cadence(s).
  2. List under each melodic note a primary triad that could harmonize it (I, IV, or V only).
  3. A normal cadential pattern is "Cadential 6/4 to V(7) to I". Use that at the cadence, if possible. A half cadence or deceptive cadence may be used as well.
  4. If any poor voice-leading (e.g., unresolved leading tones) or retrogressive motion (e.g., V-IV) results using a primary triad, select a secondary triad.
  5. Create a bass line using the chords selected. Try to use contrary motion. Parallel 6ths and 10ths (3rds) are OK. The beginning and the cadence will often have a P5 or P8 in the outer voices (but take care not to have two consecutively).
  6. Fill in the inner voices. In all voices, remember to watch for poor voice leading. Here is reminder (may not be comprehensive): Avoid parallel 5s/8s, hidden 5s/8s, voice-crossing/overlaps, unusual melodic leaps (e.g., +2), and intervals greater than an octave between any two of the upper three voices. Be sure to resolve leading tones up (in V and viio chords) and 7ths down (all chords). Suspensions should be properly prepared and resolved. Six-four chords have special treatment.

Example:

Using these steps, I created a simple solution to the following problem (p. 184, E4 from Peter Spencer's Practice of Harmony, 4th ed.). Try completing your own version first and then compare answers. There are several different solutions, of course, but you should see some similarities.


Commentary:

Since the D in m. 1 and in m. 3 descends to a C, the dominant chords V and viio may not be used (otherwise, an uresolved leading-tone would result). The only options for harmonizing ^7 in those two measures are to use a mediant triad (iii) or make the D a seventh of a chord (I7). I chose the latter. While the leap in the melody up to the D (7th) bothers me some (composers a few hundred years ago would be criticized for not "preparing" their 7ths), it is acceptable. J. S. Bach, who harmonized hundreds of chorales, occaisionally had to "deal with" and salvage awkward melodies composed by others. Also acceptable but not great are the leap in the soprano in m. 5 to form an octave with the bass, and also the P5 formed between the tenor and bass in m. 4 and m. 5.

The essential resolutions of 7ths (down) and of leading tones (up) are highlighted by red arrows. The resolutions of suspensions or the cadential six-four is shown by blue arrows. The suspension in m. 2 is a 9-8 suspension, which should be placed in the figured bass above the "6". I left it out for clarity. The passing six-four here follows its normal pattern in the prolongation of the subdominant (IV to I64 to IV6). Notice the 1-2-3, 3-2-1, 5-5-5, 1-7-1 melodic patterns (using Ab as 1). In m. 4, I chose to use the submediant for variety. At the end, the V7-to-I resolution requires a "triple-root, third" cadence in which the fifth is omitted. That is, if the tenor had lept to a Bb, parallel 5ths would result. Even though we prefer to have complete triads (root, third, fifth), proper voice-leading takes precedence. The "8-7" figured bass at the cadence does not indicate a suspension but indicates movement in one of the voices from the octave to the seventh. That is, while the movement from Bb to Ab is not required, once that move is made, the move from Ab to G IS required as the resolution of the seventh.

This is a very simple solution. Notice the beautiful alto line. It is, as Allen Forte says, "borrect"--boring but correct. I recommend making it as easy on yourself as you can, and then, once you master the simple versions, you may move to more elaborate harmonizations. There may be better solutions and there certainly are more elaborate solutions, but this solution suffices.

I hope this helps.

Dr. Gabe Fankhauser