|VERIFIED| Download Harmonize Ft Jay Melody
Hortensia Osol
This way of harmonizing a melody, while effective for certain musical contexts, can sound a bit redundant because the pitches used in the melody are already contained in the chord formation we have used. I think it goes without saying, but it is good to keep in mind the guidelines about voice leading practices as it helps to make smoother chord transitions.
2. Considering the above, the next suggestion is to harmonize the melody in a way that the melodic pitches are perceived in the overall harmonic context as chord extensions, meaning that we will be aiming at how that specific melodic pitch would sound with that chord as a ninth, seven, sixth or other interval when that chord is struck:
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!
Harmonizing a melody with a set of chords is a skill that takes time to develop. The results are dependent on the melody, which for the purpose of harmonization could be either friendly or difficult to work with.
To harmonize a melody, we decide how often the chord will change, roughly. If the chord will change once per measure, then every note in the measure is considered for the purpose of choosing the chord. We want to choose a chord that supports the melody, but the melody may have notes that are not in the chord and sound dissonant.
Here we have a very typical melody that follows many of the conventions established hundreds of years ago by classical music composers. The melody was clearly written with the rules of harmony in mind.
Measure 3 is likely Amin. Only the A and C notes are in the chord, but they fall on the metrically strong beats 1&3, whereas the other notes fall on metrically weaker beats 2&4. In addition, the melody moves by step.
I would like to point out that the second four measures are harmonized exactly the same. This is because there is only one chord available for each melody note. While you are learning the basics of harmonizing melodies remember to use the chords that most logically go with the melody notes.
Click the audio example below and listen to Melody and Harmony together. The first two measures have the Tonic chord (l). The third measure is harmonized with the Supertonic chord (ii) and the Subdominant chord (lV).
A harmonized scale can be created by using each note of a musical scale as a root note for a chord and then by taking other tones within the scale building the rest of a chord.[3]
For example, using an Ionian (major scale)
Reharmonization is the technique of taking an existing melodic line and altering the harmony that accompanies it. Typically, a melody is reharmonized to provide musical interest or variety. Another common use of reharmonization is to introduce a new section in the music, such as a coda or bridge.
Typically however, reharmonizations involve not just a single melody note, but a melodic line. As a result, there are often several melodic tones which might occur over a harmony, and all of these must be considered when reharmonizing.
In jazz, the term is typically used to refer to the process of reharmonizing some or all of a tune, whereby an existing melody is refitted with a new chord progression. Jazz musicians often take the melody from a well-known standard and alter the changes to make the tune sound more contemporary or progressive. Art Tatum was a pioneer of reharmonization, and later on John Coltrane, Miles Davis and Bill Evans were among the first to seriously explore its possibilities, and since then the technique has become an essential tool for the jazz musician and jazz arranger.
Planing is often used by jazz arrangers to reharmonize melodic passing tones which, if voiced as a vertical sonority, might clash with the prevailing harmony in the progression. As well, a number of improvisers have used planing effectively, typically as part of a progression. Herbie Hancock uses improvised planing on his tune "Chameleon", on his 1973 Head Hunters record; McCoy Tyner uses it extensively (specifically, pentatonic scales located a tritone apart) in his recordings with John Coltrane, most notably "A Love Supreme", as well as in his own albums of the same period.
This kind of reharmonization mostly requires alteration of the original melody because of the frequent modulations[citation needed] and therefore, becomes "reharmonization of the changes" rather than the classic concept of re-harmonizing the melody.
Is there a way to do that in cubase using e.g. a midi track plus a chord track - and then let cubase automatically create a voicing of the chord progression that has the melody as the top note and lets the chords follow the melody also rhythmically?
There are many cases. For example: Have a single piano accompany the melody. You could draw 2 measures of accompaniment (rhythm included if you wish, not just whole notes), and then duplicate those. Then you should make this track follow the chord track from the corresponding Chords section in the Inspector, and fiddle with the settings. (Voicings, Follow Chords, Scales, Chords & Scales, etc)
But I respectfully disagree about the stiffness of harmonization. Give 5 people the same melody and the same progression, they will harmonize differently! A position change here or there could make the internal voices move very differently in some cases.
Next, we write the scale degrees above the soprano pitches. This will help us determine the chords possible on each note of the melody. When working with triads, each scale degree can be used in 3 triads because each soprano note could be the root, 3rd, or 5th of a chord. To quickly list the chords possible on any scale degree, start with the chord that is built on the root of the scale degree, then count backwards two chords in the scale to find the next possible chord, then count backwards from that chord two more in the scale order to find the last possible chord choice. For example, in our melody, we start on scale degree 3. Scale degree 3 is used in a iii chord, a I chord (2 backwards from iii), and a vi chord (2 backwards from I). With practice, knowing what chords are possible on a scale degree will become automatic. The example below shows the three possible chords for scale degree.
The harmonic rhythm for both choices is the same. It also mirrors the I ii V I V progression possible in bars 1-2. Since these bars are related and dependent on one another harmonically, the symmetry of the harmonic rhythm works nicely to reflect that change. It also speeds up towards both cadence points, which is a feature of harmonic rhythm in music. Now, we have to decide which progression to use to end the melody. The I IV V I choice is a standard progression in music, it can be part writing smoothly with less worry about potential parallels between I and ii, and it would provide variety from the first two bars that are using a ii chord. So, our final choice for the 4-bar progression is:
The next step is to fill in the bass voice and check it for errors with the soprano. You want to catch any errors before you start part writing the entire melody because if you need to change a chord, you will have to erase a lot more of your work. Once the bass line is checked for errors, you are ready to part writing the inner voices.
You can auto-harmonize a melody line in RapidComposer. Harmonization works by finding suitable chords for a melody, that are placed on the master track after analysing the melody notes. Two algorithms are offered by RapidComposer.
This algorithm builds a valid chord progression on the melody notes. Please note if the rules and settings are too restrictive, the program may not find a solution. A pop-up message will notify you about it, and that you should relax the rules.
These questions are intended to test your basic understanding on what chords could be used to harmonize a melody. Understand that other chords could also be used depending on what style you're playing in, but for this exercise, we want to pick the chords that sound best based on music theory.
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