LESSON NO. 7 MODERN BLOCK HARMONIZATION A. MELODIC ANALYSIS Before attempting to harmonize a melodic line in the manner to be discussed, it is important to understand the function of each note of the melody. We may atart by assuming that every note of a melody must fall into one of the following classifications. 1.CHORD NOTES .... i.e., notes belonging to the chord indicated above the melodic line. Ex. 1 Chord notes 2, NON-CHORD, NON-APPROACH NOTES .... ive., non-chord notes which do not function as approach io anction as approach notes. Ex. 2 _Non-chord, non-approach notes NOTE: Since one of the conditions relating to approach notes stipulates that they must be of short duration, we may assume that any non- chord note more than one quarter beat in duration would automati- cally fall into this classification. Ex. 3 Non-chord, non-approach note: Fm G7 Page 13. SCALE-WISE. APPROACH NOTES .... (Ref. Lesson No. 5) Ex. 4 Scale-wise approach notes Seecaeiee approach notes _ NOTE: In addition to the regular chromatic approaches discussed in Lesson No. 5, notes that are classified as non-chord, non- approach may also be approached chromatically. Ex. 6 appropriately coded as follows: CHORD NOTES ......... NON-CHORD, NON-APPROACH NOTES .. SCALEWISE APPROACH NOTES . CHROMATIC APPROACH NOTES ..........NOTE: In certain instances more than one possibility for analysis exists. In these cases the most desirable choice has noted. Where _Bnapproach note may De ied as either scale-wise or atic, it is usually (but not always) advisable to treat it ‘as a scalewise approach." —ESE As you complete the block harmonization of the assigned melodies, it is advisable that you play each of the possible harmonizations wherever a choice exists so that you may select the one that sounds best to you. a (at ents point complete problems No. 1 and No. 2 of the assignment) B. MODERN BLOCK HARMONIZATION ‘Once each note of the melodic line has been properly analyzed, the actual harmonization becomes a relatively simple procedure. 1, CHORD NOTES... Harmonize chord notes with designated chord. (as in four-part harmonization - Ref. Lesson No. 4) . Ex. 8 2, NON-CHORD, NON-APPROACH NOTES Harmonize non-chord, non-approach notes with chord, omitting the nearest chord note just below the lead. Page 3SCALEWISE APPROACH NOTES.... . Harmonize ‘scalewise approach notes with the diminished chord of the note being harmonized. 4, CHROMATIC APPROACH NOTES ..... Harmonize chromatic approach notes chromatically in all voices. (Each note moves chromatically in the same direction into its adjacent chord note.) ——— The completed harmonization would appear as follows: c Gm7 Fr Pn Page 4w) Following is an illustration of the modern block harmonization of a given melody. In Example 13 the analysis has been made and each note coded, and in Example No. 14 the harmonization is actually completed. Ex. 13 Melodic analysis REMINDER: Quarter notes which occur on the first or third beat should not normally be harmonized as approach notes, Tt is important that the chord sound be heard on these strong beats, when the attack lasts for a full beat or more. Just to be certain that the foregoing is perfectly clear, here is another example employing the techniques described in this lesson. Page 51 ‘sl 4 3 x a Ab7 Am7 Ex. 16 Modern block harmonization 6 PageASSIGNMENT Analyze and code each of the following melodies. n (See Example No. 1. VTS Vine AE | Page 7Ina similar manner, analyze and code any three standard tunes of your choice. Write a modern block harmonization of each of the melodies given in Problem No. 1. Write a modern block harmonization of each of the standard tunes analyzed in Problem No. 2. Page 8LESSON 12 PRINCIPLES OF BACKGROUND WRITING ‘The past several lessons have dealt primarily with various devices re- lating to block harmonization, i.e., the technique of concerting under voices to a moving melodic line in "block" fashion. In this lesson, however, we concern ourselves with the principles of background writing, i.e., the technique of composing a supporting harmonic background to a separate melodic line. ‘The importance of a thorough understanding of the following material cannot be over-emphasized, since the ability to play or write effective background lines is essential. The following outline will serve as a guide in composing a background to a given melody. y 1, \USING CHORD NOTES ONLY, WRITE A SMOOTH MELODIC COUNTER-LINE BASED ON THE FOLLOWING PRINCIPLES: a. Where melody moves, sustain background; where melody sustains, move background. 2(b9) P Gi(b9) b Dm? t Pe 4 Eo Dm7 reer orle p lreere ff 1? b. As in simple harmonic continuity, try to establish ‘a smooth melodic connection between chords by sustaining, or moving chromatically or stepwise. However, leaps may occur freely while the chord remains the same. Page 1 5° Emi7(b5) 7 G7(b9)_ Ex. ze Eb om SSS Dm7__G7(b9) CER Dm7 G7(b9)_ oc BS ae gs ¢. Where melody and counter line attack at the same Hime, it is best (for the present) to keep the counter Tine at least a third, and not more than an octave from the melody. Em7(b5) _A7 In the following illustration all points marked (X) would be considered to be bad. (b) Dm7 G7(b9) c Em7(b5)__ AT 4. Where melody and counter line do not attack at the ame time, they may cross freely. Ex, 4 — Dm7_g 9 S79) CAN Ep? Dm7__G7(b9) o Page 22, AFTER A LINE HAS BEEN COMPOSED IN ACCORDANCE WITH THE PRECEDING PRINCIPLES, COMPLETE A BLOCK HARMONIZATION OF THIS COUNTER-LINE. Dm? G7(b9) c Em7(b5)__A7 top voice of background: Dm7_|_G7(b9) G. gabe Em7(b5)__A7 harmonized backgroundEx, (ay 6 Here is another step-by-step illustration of the construction of a simple background to a given melody. iven frelody top voice of background harmonized background