11th Grade Harmony Exercises

We often think of melody, bass and harmony as three separate elements in music, but in reality they
come packaged together. Melodies are often formed from the notes of chords, and bass lines underpin
the harmonies. It is possible to play many simple pieces with just the two outer parts melody and
bass because your inner ear will fill in the harmonies even if they are not played.

When harmonizing a melody:

- Use mainly chords I, IV and V, and sometimes ii and vi (occasionally iii)

- Use first inversions (i.e. Ib, Vb) sometimes.

Harmonic Rhythm

Often, the rate of harmonic change (how many chords are in each bar) increases as you approach a
cadence. Look at the example The Ash Grove.

Writing a Bass Line

After deciding on the chords you wish to use, you need to write a bass part.

- It should mostly move in contrary motion to the melody.

- If the melody line has a long note or a rest, it is often good to have musical interest in the bass
at these points.

- To make the bass line more interesting (or to make opportunities for passing notes etc), you
may need to put some of the chords in inversions. You can do this deliberately to create a
better bass line! Or, change the chord you have written in order to make a more interesting
bass line.

- Use passing notes (accented and unaccented) and auxiliary notes.

- You can also use additional harmony notes i.e., instead of a minim root note, have two
crotchets and use the root and third of the chord in the bass part.

Typical Cadences

Ic V7 I

Ii7b V7 I
Seventh Chords

Most commonly, ii7 and V7.

You have to resolve 7th chords properly:

The 7th will clash with the root of the chord this note must move downwards by step in the next
chord, to a harmony note.

Diminished Triads

Chord VII in major and minor keys, and chord ii in a minor key, are diminished. These sound best if the
3rd is doubled, and in first inversion.

Writing in Full Texture (3 or 4 parts)

- You will need to double one of the notes the best note to double is the root, and then the 5th.
Do not double the third in Primary Triads.
- Check the spacing of your accompaniment writing i.e., the distance between the notes of the
chords youve written, and the distance between the accompaniment and the melody part.

Chord Progressions

Often, good chord progressions contain roots which fall by a 5th or rise by a 4th. You can also use
sequences. For example, if the melody is repeated in a sequence and has fallen by a note, the chord
sequence could do the same.

Modulating

To change key, you need to include chord symbols for both the new key and the old key starting from
the pivot chord. There then needs to be a perfect cadence in the new key.

You will then need to modulate back to the original key using the same method (a pivot chord,
followed by a perfect cadence).