Tips on creating harmonies

1. The melody is the focus and should always be louder than the harmony. Dont play harmony for the
first 4 - 8 bars of melody; the first few harmonies should be very simple (droneswhole notes etc!.
". #ne of the simplest harmonies is to double the melody on its repeat or echo$ li%e a call and response
(its better to do this on "- to 4-bar phrases rather than a whole & part or ' part!. This wor%s
especially well when there is a part of the tune that often repeats$ such as a refrain.
(. )se sheet music that has chords provided. These are usually written above the melody line$ but
occasionally are below.
4. *emori+e the chord notes in at least the most common %eys (,$ D$ &$ -$ 'b.! -or a list of which
notes are in each chord see the website http.www.michael-thomas.commusicclass
chords/notesinchords.htm. The notes you choose for your harmony will be based on these chords.
0. ,enerally choose notes in the %ey in which the tune is written. -or e1ample$ in the %ey of 2 use all
naturals (unless theres an accidental.!
3. 4eep the harmony below the melody as much as possible. Thin% of it supportin5 the melody. This is
5enerally below the D on the treble clef. &n e1ception mi5ht be on instruments that have a hi5h
octave ran5e such as flute or whistle -- they can add spar%le by playin5 above the melody. This has
to be done 6udiciously or it 5ets tirin5 to listen to andor overwhelms the melody.
7. & drone often may be created by stayin5 on a note in the chord as lon5 as it sounds 5ood and
chan5in5 the harmony notes as little as possible. 8ome (medieval or 8cottish! tunes sound 5ood
a5ainst a lon5-runnin5 drone$ especially on the 0th of the %ey (e.5. drone on a D in the %ey of ,!.
8. The harmony can move stepwise$ based on chord chan5es (e.5 a , note for a , chord$ then and -9
for a D chord$ and an : for the 2 chord.!. #r the harmony can be based on chord arpe55ios.
;. #ften the harmony wor%s best when it paralells the melody. -or e1ample$ the harmony 5oes up when
melody 5oes up < vice versa.
1=. The harmony can be the opposite of the melody$ it 5oes up when melody 5oes down < vice versa.
11. The harmony may echo the melody by playin5 the melody notes a measure or two later.
1". The harmony may anticipate the melody by playin5 the melody notes a measure early.
1(. >hen the melody is comple1$ %eep the harmony simple; when the melody is simple$ the harmony can
be more comple1.
14. #n walt+es$ use ?oom-pa-pas (root$ 0th$ 0th of the chord.!
10. & harmony which 5oes up the scale at the end is upliftin5$ down can be depressin5.
13. &void usin5 the same note for your harmony as is in the melody.
17. &s% for and @A8T:B T# the feedbac% your band-mates 5ive.
Ats very handy to compose your harmonies on a music-editin5 pro5ram that can play it bac% to you$ both
with and without the melody bein5 played at the same time. Bote>orthy 2omposer is a shareware music
editor that Ave used for years$ and A recommend hi5hly. At costs C0=. if you 2D##8: to re5ister it.
http.www.noteworthysoftware.com
Eatricia 4ernan and harmonywritin5".doc
,ail ,riffith. 5e5(40F5mail.com 018-374-(=0" 118"=11