How to harmonize a melody:

1. Decide how many chords you want to write in the measure.

a. You could harmonize every note in the melody.
b. Or, may even be possible to harmonize an entire measure with a single harmony.
i. Do all the notes outline a particular harmony?
c. Look for:
i. Skips of a third:
1. Could be the root and 3rd of a triad.
2. Could be the 3rd and 5th of a triad (or 5th and 7th of a 7th chord).
3. Remember: Skips can be “filled in” with a passing note
ii. Skips of a fourth:
1. Could be the 5th and root of a triad or a 7th chord.
2. Could be the 7th and 3rd of a 7th chord.
iii. Skips of a fifth:
1. Could be the root and 5th of a triad or 7th chord.
2. Could be the 3rd and 7th of a 7th chord.
2. For each note you’ve decided to harmonize, figure out which chords you can use
to harmonize them.
a. Remember that we generally want our harmonies to be “consonant” with the melody
notes they accompany.
i. This means that, primarily, we will select harmonies that contain the note we are
trying to harmonize. Again:
1. Imagine that the note is the root of a triad or 7th chord
2. Imagine that it’s the 3rd of a triad / 7th chord
3. Imagine it’s the 5th of a triad / 7th chord
4. Imagine it’s the 7th of a 7th chord
3. Use the TPDT phrase model to go through the possibilities, and select chords that
will make a functioning chord progression.
a. Figure out the cadence first (the last 2 or 3 chords):
i. Select chords that function as a PàD for a half cadence
ii. Select chords that function as a PàDàT for an authentic or deceptive cadence
iii. Select chords that function as a PàT for a plagal cadence
b. Then choose the rest of your chords, being careful to avoid writing retrogressions
(DàP).
4. Then voice your harmonies according to the style of voicing you are assigned, or
have chosen.
a. Write the bass line next, then add inner voices.
b. Be careful to avoid making voice-leading errors:
i. No parallel perfect intervals
ii. No space larger than an octave between S/A or A/T
iii. No skips larger than ~ a 6th in any voice
iv. Avoid melodic intervals that are diminished or augmented
v. No crossed voices
vi. Resolve active tones correctly:
1. 7ths of 7th chords resolve down if possible, or stay the same if not
2. Leading tones à Tonic in outer voices
3. Dim 5th resolves inward, Aug 4th resolves outward