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3 basic melody harmonization

Building Blocks of Harmony: Supertonic and Submediant Chords

Sections

Piano

Brass

Strings

Themes

B6 F major, 8 measures
B7 E minor, 8 measures

Welcome back to Scoretalk, everyone! I'm so excited to continue our journey through harmonization.

That's right, Odette. We've got some new chords to explore today that will really expand our harmonic palette.

Ooh, new chords? Do tell, Siegfried. I'm always eager to add more... flavor to my compositions.

Ah yes, the supertonic and submediant. Quite useful for those who know how to wield them properly.

Episode 3: Expanding Our Harmonic Vocabulary

In our previous episodes, we covered the primary chords: tonic, subdominant, and dominant.

Episode 3: Expanding Our Harmonic Vocabulary

Tonic (I): The home chord

Subdominant (IV): Creates movement

Dominant (V): Builds tension

And now, we're ready to add two more chords to our toolkit!

I'm all ears, darling. What delightful new sounds await us?

Pay attention, you'll want to master these. They can add... unexpected twists to your music.

Indeed, Rothbart. Let's introduce them properly, shall we?

The Supertonic (ii) Chord: What's in a Name?

The name 'supertonic' comes from its position in the scale:

The Supertonic (ii) Chord: What's in a Name?

'Super-' means 'above' in Latin

'Tonic' refers to the first scale degree

Therefore, 'supertonic' means 'above the tonic'

Ah, I see! So it's called supertonic because it's built on the second scale degree, which is right above the tonic.

How delightfully logical. I do enjoy when music theory makes sense.

Names are all well and good, but what truly matters is function. Shall we discuss that?

Absolutely, Rothbart. Let's explore the harmonic function of the supertonic chord.

Harmonic Function of the Supertonic Chord

The supertonic chord serves several important functions:

Harmonic Function of the Supertonic Chord

Predominant function: Prepares for the dominant

Predominant function? That sounds important. Could you elaborate, Siegfried?

Of course, Odile. The predominant function is like a musical stepping stone. It bridges the gap between the tonic and dominant, creating a sense of movement. In this role, the supertonic (ii) chord acts as a catalyst, propelling the harmony forward. It creates a sense of anticipation, making the eventual arrival at the dominant feel more satisfying. This function is crucial in establishing the harmonic rhythm of a piece and in creating the tension-resolution patterns that are so fundamental to Western music.

Harmonic Function of the Supertonic Chord

Predominant function: Prepares for the dominant

Adds tension: Creates forward motion in progressions

This tension-creating aspect of the supertonic chord is what gives it its power. The ii chord, being a minor chord in a major key, introduces a subtle but noticeable shift in the harmonic landscape. This shift creates a gentle dissonance that the ear wants to resolve, driving the music forward. Composers often use this quality to build anticipation, especially in the middle of phrases or as part of a longer chord progression. The tension it adds can make the eventual resolution to the tonic feel more satisfying, or it can be used to delay that resolution, keeping listeners engaged.

Harmonic Function of the Supertonic Chord

Predominant function: Prepares for the dominant

Adds tension: Creates forward motion in progressions

Substitute: Can replace the subdominant (IV) in many contexts

Moreover, the supertonic's ability to substitute for the subdominant makes it particularly versatile.

Exactly. The ii chord shares two notes with the IV chord - the fourth and sixth scale degrees - which allows it to function similarly in many contexts. This substitution is particularly common in jazz and popular music, where it's often used to add color and complexity to otherwise simple progressions. For example, in a I-IV-V progression, replacing the IV with ii can add a touch of sophistication without fundamentally altering the harmonic structure. This substitution also allows composers to create smoother bass lines and voice leadings, as the root movement from ii to V (a fifth) is often more graceful than from IV to V (a whole step).

Common Progressions with the Supertonic Chord

Let's recap the typical progressions involving the ii chord. We will find those in our compositions too:

Common Progressions with the Supertonic Chord

ii - V - I: A classic jazz and pop progression

I - ii - V - I: Adding ii to the basic authentic cadence

IV - ii - V - I: Using ii as a transition between IV and V

Indeed, the ii - V - I progression! It's everywhere in jazz...

Absolutely, Odile. It's a cornerstone of jazz harmony. The ii chord adds a nice bit of 'spice' before the dominant.

Notice how in each progression, the ii chord is preparing us for the dominant. That's its primary function at work.

Excellent observations, everyone. The supertonic is a subtle but powerful tool in our harmonic toolkit.

The Submediant (vi) Chord: Understanding the Name

Now that we've covered the supertonic, let's move on to our other new chord: the submediant, or vi chord.

Submediant? That's a mouthful. What's the story behind this name?

I bet it has something to do with its position in the scale, like the supertonic did.

Close, but not quite. Care to explain, Odette?

The term 'submediant' breaks down like this:

The Submediant (vi) Chord: Understanding the Name

'Sub-' means 'below' in Latin

'Mediant' refers to the third scale degree

So 'submediant' means 'the mediant below the tonic'

Ah, I see! So it's the sixth scale degree because it's the third degree, but counting down from the octave. Like the subdominant, which is a fifth down from the octave...

Fascinating! These music theory terms are like little puzzles, aren't they?

Yes, yes, the etymology is charming. But as I said before, function is what truly matters.

You're right, Rothbart. Let's delve into the harmonic function of the submediant chord.

Harmonic Function of the Submediant Chord

The submediant chord has several important functions:

Harmonic Function of the Submediant Chord

Tonic substitute: Can replace the tonic in many contexts

This is a crucial function of the vi chord. Because it shares two notes with the tonic chord (the third and the fifth), it can often stand in for the tonic, providing a sense of resolution while adding color. This substitution can be used to extend phrases, avoid predictable cadences, or add harmonic interest to a progression that might otherwise sound too repetitive with a standard tonic chord.

Harmonic Function of the Submediant Chord

Tonic substitute: Can replace the tonic in many contexts

Deceptive resolution: Often used in deceptive cadences

The deceptive cadence is one of the most powerful tools in a composer's arsenal, and the vi chord is at its heart. When listeners expect a V-I cadence, substituting vi for I creates a surprising and emotionally stirring effect. This technique has been used by composers for centuries to delay final resolution, create dramatic tension, or signal that a piece isn't quite finished. In pop music, it's often used to seamlessly connect the end of one section to the beginning of another.

Harmonic Function of the Submediant Chord

Tonic substitute: Can replace the tonic in many contexts

Deceptive resolution: Often used in deceptive cadences

Emotional shift: Can add a touch of melancholy or introspection

This is where the vi chord truly shines in expressive power. The lowered third of the vi chord, compared to the tonic, gives it a more somber, reflective character. It's like a sudden minor key inflection in a major key piece. Composers often use this to underscore moments of doubt, reflection, or sadness in lyrics or narrative. In film scores, a shift to vi can signal a character's internal struggle or a bittersweet moment. It's a beautiful way to add emotional depth to your music without fully modulating to a minor key.

Common Progressions with the Submediant Chord

Here are some typical progressions featuring the vi chord:

Common Progressions with the Submediant Chord

I - vi - IV - V: The famous '50s progression'

V - vi: The deceptive cadence

vi - IV - I - V: Starting a progression with vi for a moodier feel

The '50s progression! Oh, how I adore that nostalgic sound. It's like musical time travel.

And the deceptive cadence! What a powerful tool for avoiding predictability in our compositions.

Indeed. The submediant allows us to play with listener expectations. Use it wisely, and you can create truly compelling harmonic narratives.

Excellent points, all. The submediant may be the mediant 'below', but its expressive potential is sky-high.

Fitting basic chords to all scale degrees

All right! And now, just like in our first episode, let's see how our new chords fit with all the scale degrees.

Great idea. This will help us understand how versatile these chords can be.

Ooh, I love a good color-coding system. Yellow for supertonic and blue for submediant, was it?

Correct, Odile. Pay attention, everyone. This is crucial information.

Let's look at where the supertonic chord fits naturally. Remember, they are highlighted in yellow in the score:

Second scale degree: Root of the ii chord

4th scale degree: Third of the ii chord.

6th scale degree: Fifth of the ii chord.

Interesting! So whenever we see these scale degrees in our melody, we can consider using the supertonic chord?

Exactly, Odile. It's all about recognizing these opportunities in our melodies.

Now, let's examine where the submediant chord fits. They are highlighted in blue in the score:

Sixth scale degree: Root of the vi chord.

First scale degree: Third of the vi chord.

Third scale degree: Fifth of the vi chord.

Oh my, the submediant seems to connect beautifully with our tonic chord, doesn't it?

Astute observation, Odile. This relationship is part of what makes the submediant so... intriguing.

Absolutely! This connection is why the vi chord can create that 'deceptive' quality we mentioned earlier.

Now that we understand how these chords fit with different scale degrees, we can start to use them in our harmonizations.

I can't wait to experiment with these new colors in my musical palette!

Well said, everyone. In our next segment, we'll look at some practical examples of how to incorporate these chords into our harmonizations.

Actually, I've been working on a new theme. Would you all like to hear about it?

Harmonizing B6

    (piece :b6 "Harmonizing B6" 120)
    (timesig 4 4)
    (key (major :f))
    (melody (:piccolo 4)
        (1                     2          3                     4)
      :m [nq1- nq3- nq6- nq8-] [nh6- nh5] [nq1- nq3- nq6- nq8-] [nh9~ nh9])
    (melody (:piccolo 4)
        (5                      6                     7           8)
      :m [nq8- nq5- nq10- nq8-] [nq6- nq4- nq11- nq6] [nh6- nh7-] [nw8])

Absolutely, Odette! Your themes are always so captivating.

Oh, do tell, darling. I'm all ears for a new musical adventure.

Very well. Let's hear what you've conjured up this time.

I've composed a theme with some specific characteristics: the time signature is 4/4, with alternating quarter notes and half notes, and it spans an interval of an 11th.

An 11th? That's quite a range, Odette. It must create a sense of expansiveness.

And that rhythmic pattern sounds intriguing. A nice balance of movement and pause.

The alternation between quarter and half notes could provide interesting harmonic opportunities.

I'm glad you find it interesting. Shall we have a look at the score? By the way, if you need more time to look at the code, pause now.

Harmonizing B6

The melody has a distinct shape it begins at the tonic, ascends in the middle section, reaches a climax, and then stays around the tonic one octave above.

I can almost hear it, Odette. A graceful arc, rising and falling like a gentle wave, with those charming legatos...

The ascent and climax must create a wonderful sense of tension and release!

Well, I think it's time to have a listen!

Harmonizing B6

    (satb (:piano-right 3 :piano-left 2)
        (1              2              3               4)
      :s [nh8   nh8]    [nh9    nh9]   [nh8    nh8]    [nh11    nh9]
      :a [nh3   nh4]    [nh4    nh5]   [nh3    nh4]    [nh4    nh5]
      :t [nh5   nh6]    [nh6    nh7]   [nh6    nh6]    [nh6    nh7]
      :b [nh1   nh-5]   [nh2    nh-4]  [nh-3   nh4]    [nh2    nh-4]
      :f [fh{I} fh{IV}] [fh{ii} fh{V}] [fh{vi} fh{IV}] [fh{ii} fh{V}])
    (satb (:piano-right 3 :piano-left 2)
        (5       6        7              8)
      :s [nw10]  [nw8]    [nh9    nh9]   [nw8]
      :a [nw5]   [nw6]    [nh6    nh7]   [nw5]
      :t [nw8]   [nw8]    [nh11   nh9]   [nw10]
      :b [nw1]   [nw4]    [nh2    nh5]   [nw1]
      :f [fw{I}] [fw{IV}] [fh{ii} fh{V}] [fw{I}])

Absolutely, Odette! Your themes are always so captivating.

Oh, do tell, darling. I'm all ears for a new musical adventure.

Very well. Let's hear what you've conjured up this time.

I've composed a theme with some specific characteristics: the time signature is 4/4, with alternating quarter notes and half notes, and it spans an interval of an 11th.

An 11th? That's quite a range, Odette. It must create a sense of expansiveness.

And that rhythmic pattern sounds intriguing. A nice balance of movement and pause.

The alternation between quarter and half notes could provide interesting harmonic opportunities.

I'm glad you find it interesting. Shall we have a look at the score? By the way, if you need more time to look at the code, pause now.

Harmonizing B6

Let's examine our harmonization of the opening measures. Notice how we begin with I-IV in the first measure.

Yes, and then we introduce our new ii chord in measure 2, creating that ii-V progression.

Which leads us to an interesting five-IV in measure 3, before another ii-V in measure 4.

The harmonic rhythm is quite brisk here, isn't it? Two chords per measure throughout.

Though I must say, the bass line is rather... jumpy.

Yes, it's quite restless, isn't it? That's what happens when we restrict ourselves to root position chords.

Don't worry, though. Once we learn about inversions, we'll be able to create smoother bass lines.

Now, let's look at how we handled the second half of our theme.

Notice how we alternate between IV and iichords in the middle measures to prepare our final perfect cadence.

And the melody has such an interesting shape here - first oscillating, then making its final climb to the climax.

The whole second half feels more settled than the first, doesn't it? The harmonic rhythm is quite different from the first half of the theme. Chord I at the beginning, then IV with a clear predominant function, and then the perfect authentic cadence at the end.

Some might worry about those parallel octaves they're seeing...

But they're not problematic here, as they occur between the melody and an inner voice, not with the bass.

Exactly. The voice-leading rules are most strict when it comes to outer voices - the relationship between bass and melody.

Well, I think now it's the right time to have a listen!

Harmonizing B7

For our next example, we're venturing into something quite different: Theme B7 in C minor.

Indeed. The minor mode makes it perfect for a more... martial character.

Ah, now this is more to my taste! A theme in C minor with a martial character.

Harmonizing B7

    (piece :b7 "Harmonizing B7" 90)
    (timesig 4 4)
    (key (minor :e))
    (melody (:trumpet 4)
        (1                          2           3                          4)
      :m [nq5> ned3 ns4- nq5- nq1>] [nh6> nh5>] [nq3> ned1 ns2- nq3- nq3>] [nh2> nh5>])
    (melody (:trumpet 4)
        (5                    6                     7             8)
      :m [nq6> ned4 ns5- nh6] [nq5> ned8 ns9- nh10] [nh10> nh11>] [nw12>])

Oh yes, quite different from our previous themes. The contrast between long and short notes creates a striking effect.

And those half cadences... particularly that second one, it really leaves us wanting more, doesn't it?

Like a proclamation that remains unfinished! How deliciously suspenseful. Let's look at the score, now.

Harmonizing B7

Here it comes. Notice how it doesn't fully resolve at the end of each phrase - those will be harmonized with half cadences of course, leaving us in suspense. Let's listen closely.

Yes, especially the final one. It seems to promise something grand to come, doesn't it?

The use of half cadences will be quite effective here. They'll give the theme a feeling of... unfinished business.

Like a declaration that demands a response! Very theatrical, I must say. Let's harmonize it, using ii and VI chords if possible. Notice that in minor mode we have a VI chord, of major quality, as opposed to major mode, where we have a vi of minor quality.

Harmonizing B7

    (satb (:piano-right 3 :piano-left 2)
        (1                      2              3                     4)
      :s [nqdd8   ns8    nh8]   [nh8    nh8]   [nqdd8   ns9   nh10]  [nh9    nh9]
      :a [nqdd3   ns4    nh3]   [nh4    nh3]   [nqdd3   ns5   nh5]   [nh6    nh7s]
      :t [nqdd5   ns6    nh5]   [nh6    nh5]   [nqdd5   ns7s  nh8]   [nh11   nh9]
      :b [nqdd1   ns4    nh1]   [nh4    nh1]   [nqdd1   ns5   nh1]   [nh2    nh5]
      :f [fqdd{I} fs{IV} fh{I}] [fh{IV} fh{I}] [fqdd{I} fs{V} fh{I}] [fh{ii} fh{V}])
    (satb (:piano-right 3 :piano-left 2)
        (5                       6                     7               8)
      :s [nqdd8    ns8   nh8]    [nqdd8   ns9   nh10]  [nh8    nh9]    [nw9]
      :a [nqdd4    ns3   nh4]    [nqdd3   ns5   nh5]   [nh6    nh6]    [nw7s]
      :t [nqdd6    ns5   nh6]    [nqdd5   ns7s  nh8]   [nh8    nh11]   [nw9]
      :b [nqdd4    ns1   nh4]    [nqdd1   ns5   nh1]   [nh-3   nh2]    [nw5]
      :f [fqdd{IV} fs{I} fh{IV}] [fqdd{I} fs{V} fh{I}] [fh{VI} fh{ii}] [fw{V}])

Notice how the harmonic rhythm plays with our expectations. Those long, sustained chords suddenly give way to...

...those rapid, marcato passages! Yes, it's quite effective. Very military trumpet-like in character.

The contrasting rhythms really emphasize the martial quality. When the harmony moves quickly, the melody becomes more pronounced, more assertive.

That final half cadence is particularly well-crafted. The way it lingers on the dominant...

Harmonizing B7

Yes, it really suggests something grand is coming, doesn't it? Like we're just getting started.

Oh, I can almost hear the imaginary timpani rolls that would follow!

Now, now, Odile. Let's not get ahead of ourselves with full orchestrations just yet.

Yes, first we should focus on the SATB harmonization. The piano will help us hear the harmonic structure clearly.

The piano's clarity will actually help us better understand those contrasts between the sustained and martial passages. Let's have a listen!

Oh, very well. Though I must say, even with just piano, those marcato passages still retain their commanding character!

This theme seems to be setting up something much larger...

Yes, those half cadences, especially the final one, really suggest more development to come.

It's like we're hearing the opening proclamation of a much grander piece.

Oh, I simply must hear what comes next! That final half cadence has left me on the edge of my seat!

Wait, I have an idea! What if we tried this with strings instead of piano? The sustained notes would have such a different quality...

Hmm... strings could indeed bring out those contrasting textures quite effectively. The long notes could truly breathe.

And the marcato passages would have that crisp, sharp articulation when played with precise bow strokes!

Oh yes! Much closer to what I was imagining, yet still maintaining the clarity of the SATB texture!

Experimenting with B7

First violins could take the soprano line, second violins the alto, violas the tenor...

And cellos the bass line, doubled by the bass naturally. The string quartet is perfect for this kind of experimentation.

It's a wonderful middle ground - more expressive than piano, but still focused on the pure SATB harmonization.

And those half cadences! They'll have such a different character with the strings' sustained tone!

Just remember to maintain clear articulation in those martial passages. The strings must be precise.

Yes, with strong down-bows on the marcato notes, we'll keep that military character intact.

And the sustained notes can now truly sustain, with no decay like on the piano.

Much better! Though I'm still hearing those timpani in my head... but I'll keep that to myself for now. Let's listen to the result, shall we?

Goodness! Even without any dynamic programming, the result is quite remarkable!

Indeed. These virtual strings... even with flat MIDI velocities and no expression control, they capture the essence quite well.

It's fascinating how far VST technology has come. No CC7 for volume, no CC11 for expression, and yet...

The sound is still so convincing! Those sustained notes actually sound like bow strokes!

The sampling technology must be quite sophisticated. The attack transients, the string resonances...

Just imagine how it would sound if we added proper dynamic shaping and expression!

The marcato passages particularly benefit from the modern sampling techniques. Each note has such definition.

And to think this is just the raw MIDI playback! These virtual instruments are like having an entire string quartet at our beck and call!

Though of course, nothing beats a real string quartet...

Naturally, but for our educational purposes, these VST instruments are remarkably effective.

They certainly help us hear how our SATB harmonizations will translate to actual strings.

And they fuel our imagination for future orchestrations... though I promise not to mention timpani again!

Shall we listen to it again, fellow composers?

Thank you all for joining us today for another episode of Scoretalk!

We've covered quite a journey through supertonic and submediant harmonies, and even experimented with different instrumentations. And remember, all the materials from today's session...