How to Harmonize a Melody in a Minor Key - Music Theory
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Date: 2022-03-28
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Comments and reviews: 10
Christopher
Really great demonstration. The treatment of the melodic minor is a bit perfunctory. The upper tetrachord of the melodic minor has arguably generated the whole of jazz harmony's extended chords, so it's not just melodic in function, and also I believe it was Stravinsky (possibly Hindemith) who explained this as an area of harmony that is only neutralized once the harmonic movement upwards or downwards is completed by a cadence, at which point the movement can switch from ascending to descending or vice versa. The modal jazz of the 1950s, plus the success of recordings of Gregorian Chant and other early European music on the one hand, and various modal experiments in composed music (Messiaen for instance) has perhaps made us less demanding about cadences.
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Really great demonstration. The treatment of the melodic minor is a bit perfunctory. The upper tetrachord of the melodic minor has arguably generated the whole of jazz harmony's extended chords, so it's not just melodic in function, and also I believe it was Stravinsky (possibly Hindemith) who explained this as an area of harmony that is only neutralized once the harmonic movement upwards or downwards is completed by a cadence, at which point the movement can switch from ascending to descending or vice versa. The modal jazz of the 1950s, plus the success of recordings of Gregorian Chant and other early European music on the one hand, and various modal experiments in composed music (Messiaen for instance) has perhaps made us less demanding about cadences.
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Brian
I actually like using a diminished ii chord in root position, especially if it's followed by a perfect cadence, because it creates some dramatic bass movement. Using F# minor as the key, for example, going from a G#o7 to a C#7 to F#m, and the bass starts on G# (top space of the bass staff), drops a 5th to C#, and then pops back up a 4th to F#, especially if the other voices have minimal movement, does sound pretty nice and big. Or, starting on low G# (bottom line of the bass staff), go up a 4th to C#, and then another 4th to F#, that sounds huge, but definitely requires some intentional setup if you're having your basses hovering all the way down there.
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I actually like using a diminished ii chord in root position, especially if it's followed by a perfect cadence, because it creates some dramatic bass movement. Using F# minor as the key, for example, going from a G#o7 to a C#7 to F#m, and the bass starts on G# (top space of the bass staff), drops a 5th to C#, and then pops back up a 4th to F#, especially if the other voices have minimal movement, does sound pretty nice and big. Or, starting on low G# (bottom line of the bass staff), go up a 4th to C#, and then another 4th to F#, that sounds huge, but definitely requires some intentional setup if you're having your basses hovering all the way down there.
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music_matters
-A lot of textbooks recommend avoiding chord seven because it is diminished.-
I am forever grateful that by random chance I bought a book of Irish folk music as my very first song book when starting to learn the guitar. To my delight found it was filled not only with Irish music, as was expected, but that Irish music is positively brimming with diminished chords, and plenty of 7ths, 9ths, 13ths, and the like. Not to mention all sorts of wonderful rhythms, and of course that-s not even starting on the melodies that the Irish are particularly famous for crafting with such skill.
All in all it was a pretty big win.
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-A lot of textbooks recommend avoiding chord seven because it is diminished.-
I am forever grateful that by random chance I bought a book of Irish folk music as my very first song book when starting to learn the guitar. To my delight found it was filled not only with Irish music, as was expected, but that Irish music is positively brimming with diminished chords, and plenty of 7ths, 9ths, 13ths, and the like. Not to mention all sorts of wonderful rhythms, and of course that-s not even starting on the melodies that the Irish are particularly famous for crafting with such skill.
All in all it was a pretty big win.
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Trevor
Hi Gareth, may I also thank you for your excellent video
series on music theory delivered with conviction, knowledge and compassion. While
I-m here, I was wondering if could you clarify the situation concerning the
chord on the Mediant in a minor key as there seems not to be a consensus in academic
circles. Some sources leave this as a Major triad, sharpening the 7th
degree only within the Dominant and Leading note chords, preferring the natural
minor form to produce a major triad. Any light you may be able to shed on this
issue would be most gratefully received. Thanks once again, Trevor
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Hi Gareth, may I also thank you for your excellent video
series on music theory delivered with conviction, knowledge and compassion. While
I-m here, I was wondering if could you clarify the situation concerning the
chord on the Mediant in a minor key as there seems not to be a consensus in academic
circles. Some sources leave this as a Major triad, sharpening the 7th
degree only within the Dominant and Leading note chords, preferring the natural
minor form to produce a major triad. Any light you may be able to shed on this
issue would be most gratefully received. Thanks once again, Trevor
reply
Touldie
Very nice explanations. So technically the contrary motion in a soprano and bass is for making a space for another voices, right? if I may, I've two sugestions. 1) Try to look at the camera not the screen. 2) If is it possible, try do more examples with piano not only five-line examples. I mean, if you say something like -It sounds ugly, try to avoid it.- please let us hear that. As chords progression too, when you explain why we should use first inversion of diminished chord. Thanks :)
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Very nice explanations. So technically the contrary motion in a soprano and bass is for making a space for another voices, right? if I may, I've two sugestions. 1) Try to look at the camera not the screen. 2) If is it possible, try do more examples with piano not only five-line examples. I mean, if you say something like -It sounds ugly, try to avoid it.- please let us hear that. As chords progression too, when you explain why we should use first inversion of diminished chord. Thanks :)
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ABDULAZIZ
according to Walter piston harmony book the interrupted cadence is V resolving to II, III OR VI
even though my traditional harmony teacher just mentioned the V to VI
thank you for using those I II III IV V VI VII as numbers not as litters (i ii iii iv V VI vii).
I use 6 for the 1st inversion and 6 for 2nd inversion
4
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according to Walter piston harmony book the interrupted cadence is V resolving to II, III OR VI
even though my traditional harmony teacher just mentioned the V to VI
thank you for using those I II III IV V VI VII as numbers not as litters (i ii iii iv V VI vii).
I use 6 for the 1st inversion and 6 for 2nd inversion
4
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Latha
Sir you are really awesome. I have learned a lot from you.
Just a question about this minor key,
This is a question about melody writing, in that the opening had B flat as its key signature and started on D. It had no C sharp. (no C even) so, what key is it? F major or d minor.?
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Sir you are really awesome. I have learned a lot from you.
Just a question about this minor key,
This is a question about melody writing, in that the opening had B flat as its key signature and started on D. It had no C sharp. (no C even) so, what key is it? F major or d minor.?
reply
Ivory
Very helpful. thank you so much. I only learned how to do it for major before and always wondering how should I harmonize minor. I feel I should use harmonic scale but was shocked to see those two diminished chords and one aug chord. Now I know I can at least use one of them. :)
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Very helpful. thank you so much. I only learned how to do it for major before and always wondering how should I harmonize minor. I feel I should use harmonic scale but was shocked to see those two diminished chords and one aug chord. Now I know I can at least use one of them. :)
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Auth
Gareth explains concepts so well. The material never seems overwhelming. I like the way Gareth suggests using your ear as a guide. I think there is a natural desire to learn the rules of music, but the most important consideration is how does the music sound?
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Gareth explains concepts so well. The material never seems overwhelming. I like the way Gareth suggests using your ear as a guide. I think there is a natural desire to learn the rules of music, but the most important consideration is how does the music sound?
reply
Robert
I am a composer with a sort of ancient sensibility. Often melodies occur to me in modal forms, specially Dorian, Mixolydian and the natural minor. Do you have any help for harmonizing these beyond my laborious trial and error system?
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I am a composer with a sort of ancient sensibility. Often melodies occur to me in modal forms, specially Dorian, Mixolydian and the natural minor. Do you have any help for harmonizing these beyond my laborious trial and error system?
reply
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