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- The rules are similar: find a chord that has a note in common with your target melody note. For example, to harmonize the F, you can use a Bdim chord. For more flavor, try 7th chords and extensions.
www.pianote.com/blog/how-to-harmonize-a-melody/
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Feb 15, 2024 · The rules are similar: find a chord that has a note in common with your target melody note. For example, to harmonize the F, you can use a Bdim chord. For more flavor, try 7th chords and extensions. Advanced songwriters can take things even further by harmonizing notes with chords outside the key.
- Approach 1
- Approach 2
- Approach 3
- Approach 4
- Approach 5
- Approach 6
- Approach 7
- Approach 8
- Approach 9
- Approach 10
This approach uses one of the most common chord progressions in music: IV, V, I. Play each chord in root position with your left hand and listen to how the harmony guides the ear to “home base” when you get to C. This is called resolutionand is a key component to harmony. V – I is far and away the most common harmonic resolution in music, and you’l...
This approach is almost the same as approach 1, however this time we start with the ii chord. The ii-V-I progression is also extremely common in music, and is the fundamental chord progression of jazz. Many other styles of music utilize the ii-V-I, and this example also follows all three guidelines. In approach 3, we’ll get away from one of the gui...
You can see right away that this is a more involved chord progression! Each note of the melody is a chord tone of each chord, but the bass motion doesn’t follow the second guideline. That doesn’t matter, because this progression sounds great! One of the reasons this works so well is because this progression follows the third guideline: the penultim...
This is a very interesting chord progression! The reason this one works so well is because it follows all three guidelines. Pay attention to how the bottom note of each chord moves: it goes up by half step for each chord! Chromatic motion like this is a great way to add a lot of harmonic interest while creating a chord progression that still makes ...
Similar to approach 4, this one is utilizing some beautiful chord extensions as well as an ascending stepwise bass motion. Bass lines that move by step will always create a flowing, beautiful harmonic foundation for any chord progression. This one doesn’t use a chord tone for each melody note (F is not a chord tone of C/E) but it doesn’t matter bec...
This is a ii-V-I progression with some nice extensions and an altered dominant V chord. Almost all of the advanced approaches are going to use altered dominant chords since that is another component of the sound of jazz! Pay attention to how each of these approaches conforms to the guidelines of harmony from above; each one will follow at least two...
An expansion of the previous approach, this one uses a iii-VI-ii-V-I progression with altered dominants. The iii-VI-ii-V progression is probably the second most common in jazz, behind the ii-V-I. The melody is sometimes a chord tone, sometimes an altered note!
This one is a more advanced version of approach 7. Instead of a iii-VI-ii-V-I progression, this one uses tritone substitutions for all the dominant chords, creating a iii-bIII7-ii-bII7-I progression. Cool! Notice the descending chromatic motion of the bass. When the harmony is this advanced, chromaticism at the bottom helps to solidify the harmony ...
This one is similar to approach 8, but we’ve used the tritone substitution on all the minor chords! This chord progression is bVII-VI-bVI-V-I. There are lots of colors and chromatic motion here! The same principle of chromatic bass motion keeps this harmonization grounded and very hip. Finally, let’s look at approach 10.
If you’re looking for a more contemporary sound, this is the approach for you! This one has been harmonized by looking at the intervals of the melody. G moves down a whole step to F, so we started with FMaj9 and moved down to EbMaj9. Then the melody moves down a half step, and the harmony follows with Dmin9. The last chord is BbMaj9, but this still...
Jan 24, 2022 · Whether you're creating chords or writing harmonic lines to sit atop your melodies, you're using harmony. Developing your harmonic skills can help you become a better composer, songwriter, singer, and instrumentalist.
Jun 25, 2024 · While there are countless exceptions, in Western music, composers often use minor thirds to evoke sadness and major chords to convey happiness. Understanding major and minor thirds is key, whether you want to write harmonies or sing a harmony by ear when you hear a tune.
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Generally, when choosing chords to harmonize a melody, these usually fall on strong beats – i.e. the first and/or third beat. The first way we will look at how to harmonize a melody is to match the notes in the melody with the notes of the chord we choose.
May 22, 2023 · To start the harmonizing process, we’ll use some basic chords. Let’s add the notes of the triads BELOW the melody line. Since this piece is in the key of G major, we know the main chords will be G, D and C. So now we simply need to insert the notes for the respective chords under their notes.
Have you got a melody that you want to harmonise i.e. find chords to fit with it? In this mu... How to easily choose chords and harmonize a melody on the piano.
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