DORIAN / HARMONIZATION OF MELODY

Performance Notes

In this lesson we will take a simple melody and harmonize it. If you give yourself some parameters to narrow the possibilities this task is a
little easier and not so overwhelming. In this example I limit it to the A Dorian mode which resides in the key of G major.

In the first four bars I present a melody.

Bars 5 - 8 demonstrate the melody harmonized using one of the formulas that I have already given you for creating modal progressions.

Bars 9 - 12 demonstrate embelishment on the melody.

Bars 13 - 16 start to get a little more interesting by moving outside of the "Modal Progression" formula that you were given in the previous
lesson. This is still Dorian though. I just used some chord substitutions to create more movement and color. Notice that I still maintain the
melody within the chords.
Bar 13 the melody is in the alto.
Bar 14 the melody is in the soprano.
Bar 15 the melody is in the tenor.
Bar 16 the melody is in the tenor.
Bar 13 uses a diffrent voicing than the original but it is still the root form of A minor 7 because the A is in the bass. You could also call this
chord C/A.
Bar 14 use the first inversion of the D major chord. This gives movement to the bass as oppose to having an A pedal tone.
Bar 15 uses the C major triad in the second inversion over the D or C/D. This was done again to create a moving bass line.
Bar 16 uses the D major triad in the second inversion over the C or D/C. This progression was given to show how you can break out of the
pedal bass progressions or in other words how to create modal progressions using with moving bass lines while maintaining the "4 - 5
chord" concept.

Bars 17 - 24 are some more examples of "moving bass lines".

Bars 25 - 28 is an example of a static bass line over sus chords.

Am7 D/A Am Am7 (type 2) D/F

b C/D D/C 7 fr. Am7/C 7 fr. D/E 7 fr. Am9 5 fr. xD9sus4 5 fr.
x x x x x x x x x x x x x x x x x x x

Am7add65 fr. Bm7+5 7 fr.Cmaj7add68 fr. D7add6 10 fr. Fadd9/D 7 fr. Cadd11 5 fr. Dmadd9/B3 fr. Cadd9/A 2 fr. Esus4/A 4 fr. Dsus4/A 2 fr. Csus4/A
x x x x x x x x x x x x x x x x x x

Gtr I

U
1
I 44 U U U
Gtr II

T 5 3 1 3
A
B

^ ^ ^ ^
Am7 D/A Am D/A

U U U U
5
I
T 5 3 1 3
A
B

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PDF created with pdfFactory trial version www.pdffactory.com

 DORIAN / HARMONIZATION OF MELODY - Artist Page 2 of 3

^ ^ ^ ^
Am7 D/A Am D/A

W V gW W W V U
9
I
3 2 0
T 5 3 1 3
A
B

b
^ ^ ^ ^
Am7(type 2) D/F C/D D/C

W V gW W W V U
13
I
3 2 0
T 5 3 1 3
A
B

^ ^ ^ ^
Am7/C D/E Am9 D9sus4

W V gW W W V U
17
I
3 2 0
T 5 3 1 3
A
B

^ ^ ^ ^
Am7add6 Bm7+5 Cmaj7add6 D7add6

W V gW W W V U
21
I
3 2 0
T 5 3 1 3
A
B

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PDF created with pdfFactory trial version www.pdffactory.com

 DORIAN / HARMONIZATION OF MELODY - Artist Page 3 of 3

^ ^ ^ ^
Esus4/A Dsus4/A Csus4/A Dsus4/A

W V gW W W V U
1
I
3 2 0
T 5 3 1 3
A
B

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

PDF created with pdfFactory trial version www.pdffactory.com