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Harmonizing a Melody

Harmonizing a Melody. AP MUSIC THEORY 2014. Remember…. Utilize Harmonies Harmonic Progression Cadences Counterpoint There is more than one correct answer! KISS. The Process. The key is given – write out the I, ii (ii7), IV, V (V7) and vi in a chord stack (your options) then IMMEDIATELY

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Harmonizing a Melody

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  1. Harmonizing a Melody AP MUSIC THEORY 2014

  2. Remember… • Utilize • Harmonies • Harmonic Progression • Cadences • Counterpoint • There is more than one correct answer! • KISS

  3. The Process • The key is given – write out the I, ii (ii7), IV, V (V7) and vi in a chord stack (your options) then IMMEDIATELY • Identify CADENCES and work with them first • Identify chord choices and start phrases with TONIC if possible • Determine HARMONIC RHYTHM (which notes will or will not be part of the harmony) (NCTs) • Make chord and inversion selections – KEEP IN MIND • Standard Progressions • T-S-D-T • Contrary motion against melody • CREATE BASS LINE WITH CONSONANT counterpoint to the melody • Check work for correct resolution

  4. Writing Cadences • Use ONLY I/i, vi/VI, or V as last chord • Do NOT invert the cadence • Write PAC for the last (final) cadence • Once this is complete – you are halfway done! • P. 466-468 (Types of cadences and what to look for)

  5. Phrase Beginnings • Look at what they have given you – sometimes you can use the same progression from similar MELODIC PATTERNS • What is the last chord written? Sometimes there is only ONE solutions (V42  I6) • The new phrase is like STARTING OVER (tidoes NOT have to resolve to do) – Tonic chord begins a new phrase! • Phrases often begin on tonic and return to it by the 3rd or 4th chord

  6. Everything Else • You do NOT have to harmonize every beat (harmonic rhythm) • Do NOT use NCTs in the bass • Do NOT invert carelessly • Do NOT use 7th chords except at cadences • Remember that the interval of a 4th above the bass is considered dissonant and must resolve down by a step • NO retrogression (V-VI or V-ii6) (ii-IV) • Write standard progressions such as… vi – ii – V – I ‘ • P. 471: Examples

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