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4 basic melody harmonization

Building Blocks of Harmony: Mediant and Leading Tone Chords

Sections

Piano

Woodwinds

Strings

Themes

B8 C major, 5 measures
B9 G major, 16 measures

Welcome back to another episode of Scoretalk! Today we're diving into some fascinating chord relationships.

I've been looking forward to this one - we'll explore how certain chords can create beautiful harmonic motion.

And discover some... alternative paths to achieve what dominant chords do.

Indeed. Not everything needs to follow the most obvious route to be effective.

Episode 4: Building Blocks of Harmony

Let's explore two important chord types that add color and movement to our progressions.

Episode 4: Building Blocks of Harmony

Mediant Chords: Built on the third scale degree

First, mediant chords, built on the third scale degree. In major keys, it is notated as iii. In C major, that would be the E minor chord - E, G, and B.

Think of it as a bridge between our tonic and dominant world.

And in minor keys, it becomes a major chord - giving us an unexpected bright color. It is notated as III. In A minor, that would be the C major chord - C, E, and G.

The mediant's dual nature makes it particularly... versatile in our harmonic toolkit.

Episode 4: Building Blocks of Harmony

Mediant Chords: Built on the third scale degree

Leading Tone Chords: Built on the seventh scale degree

Then, we have the leading tone chord, built on the seventh scale degree and notated as viiᵒ. In C major, that's B diminished - B, D, and F. It stays diminished in minor keys as well. In A minor, that would be G♯, B, and E.

A chord that creates such delicious tension, yearning to resolve.

Notice how it contains both the leading tone and the fourth scale degree?

This unique combination gives it its special dominant function, which we'll explore in detail.

Mediant Chords

Let's explore the versatile mediant chord.

Mediant Chords

Can function as a weak predominant

It can function as a weak predominant. Perfect when you want a gentler approach to the dominant!

Mediant Chords

Can function as a weak predominant

Can prolong the tonic function

Or, it can prolong the tonic. It's like a subtle echo of home, isn't it?

Mediant Chords

Can function as a weak predominant

Can prolong the tonic function

Creates smooth voice leading opportunities

It creates also smooth voice leading opportunities. The proximity of its notes to both tonic and dominant makes it quite... adaptable.

Odette, could you explain why mediant chords feel so... different?

They have this wonderful dual nature, Siegfried. They can either lead us somewhere or help us stay where we are.

Much like our dear Odile's choreography - sometimes advancing the phrase, sometimes dwelling in a moment.

I'll take that as a compliment, Rothbart.

Leading Tone Chords

Let's move to the leading tone chord now, my friends. It's all about creating expectation.

Leading Tone Chords

Functions as a dominant substitute

Yes! It's like the dominant's mysterious twin!

Leading Tone Chords

Functions as a dominant substitute

Often used in inverted positions

It is often used in inverted positions, though today we'll focus on root position examples.

Leading Tone Chords

Functions as a dominant substitute

Often used in inverted positions

Excellent for sequential progressions

Perfect for when you want to explore different starting points for the same musical idea, in a sequential progression.

Fitting iii and viiᵒ chords to scale degrees

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

Notice how our new chords expand the possibilities?

Yes, and each brings its own color to the harmony.

Feel free to pause now to have a deeper look!

Now, don't forget to take special care with our viiᵒ chord

Remember: we must avoid doubling the leading tone!

This note desperately wants to resolve upward to the first degree

So we'll give it just one voice to do its job, otherwise we would get plenty of parallel octaves...

You are right, Odile. But in harmonic sequences, where the same pattern of chords is repeated multiple times at different degrees - for instance, ascending one degree at a time - we can dispense with this strict rule and just keep repeating the SATB parts, even if this means not resolving the leading tone to the tonic. We'll se a couple of examples later, don't worry!

Alright, Rothbart! Are you ready to explore these wonderful new harmonic tools now?

Yes, Odette! I Can't wait to show how they work in real musical examples!

The possibilities for voice leading are endless...

Let's begin with a demonstration.

Harmonizing B8

    (piece :b8 "Harmonizing B8" 120)
    (timesig 5 4)
    (key (major :c))
    (melody (:cello 4)
        (1                       2                       3)
      :m [nqd3> nqd1> nq6> nq4>] [nqd4> nqd2> nq7> nq5>] [nqd5> nqd3> nq8> nq6>])
    (melody (:cello 4)
        (4                       5)
      :m [nqd6> nqd4> nq9> nq7>] [nw8>~ nq8])

Ah, the B8 theme... one of my more... unconventional creations.

Five measures in 5/4? That's quite bold, Rothbart.

And those marcato articulations give it such... assertiveness.

Almost like five heartbeats, each one marked with purpose. Let's look at the score right now, I can't wait any more!

Harmonizing B8

The sequential progression is particularly clever here.

Yes, watch how it demonstrates both the iii and viiᵒ chords in action.

Each sequence starting from a different scale degree, showing their full potential.

Perfect for understanding how these chords behave in real musical context.

The cello would be perfect for this, don't you think?

Oh yes, its rich middle register will make those marcato notes speak beautifully.

The cello's natural intensity suits the theme's character.

And its warm tone will help balance the sharp articulations. But, let's cut to the chase and have a listen!

Rothbart, what inspired this unusual combination of elements?

Sometimes, Odette, breaking conventional patterns reveals new possibilities.

The way the sequences highlight our new chord functions is brilliant.

Leave it to Rothbart to turn a theory lesson into a dramatic statement!

Harmonizing B8

(satb (:piano-right 3 :piano-left 2)
    (1                                  2)
 :s [nqd8   nqd8    nq9    nq8]    [nqd9    nqd9      nq10    nq9]    
 :a [nqd3   nqd3    nq4    nq4]    [nqd4    nqd4      nq5     nq5]    
 :t [nqd5   nqd6    nq6    nq6]    [nqd6    nqd7      nq7     nq7]    
 :b [nqd1   nqd-3   nq2    nq4]    [nqd2    nqd-2     nq3     nq5]    
 :f [fqd{I} fqd{vi} fq{ii} fq{IV}] [fqd{ii} fqd{viid} fq{iii} fq{V}])
(satb (:piano-right 3 :piano-left 2)
   (3                               4                                5)
 :s [nqd10    nqd10   nq11   nq10]  [nqd11   nqd11   nq12  nq11]     [nw10~ nq10]
 :a [nqd5     nqd5    nq6    nq6]   [nqd6    nqd6    nq7   nq7]      [nw5~  nq5]
 :t [nqd7     nqd8    nq8    nq8]   [nqd8    nqd9    nq9   nq9]      [nw8~  nq8]
 :b [nqd3     nqd1    nq4    nq6]   [nqd4    nqd2    nq5   nq7]      [nw1~  nq1]
 :f [fqd{iii} fqd{I} fq{IV} fq{vi}] [fqd{IV} fqd{ii} fq{V} fq{viid}] [fw{I} fq{I}])

Let's explore the harmonic backdrop for our B8 theme!

We'll start with a classic sequence: the I, vi, ii, and IV.

Then we'll move the entire pattern up by step.

Creating a rising tension with each repetition...

Notice how when we start on the second degree...

We get ii, viid, iii, V...

And continuing upward: iii, I, iv, vi...

Each sequence maintaining the same internal relationships.

The beauty lies in how each chord serves the same function...

Just starting from a different scale degree each time.

Like climbing a ladder, step by step!

Until we need that final resolution...

And that last I chord...

Arrives with such... finality.

After all that rising tension, it feels like coming home.

A perfect way to ground our adventurous harmonic journey.

The way each sequence builds on the previous one...

Creates an almost spiral-like motion, doesn't it?

And each chord maintains its role within the sequence...

Until that final I chord brings us back to solid ground. Let's look at the score now!

Harmonizing B8

Actually, I can't help but have a listen first! Shall we?

I think there's something almost... primal about this theme.

The marcato articulations combined with the cello's natural growl...

And that 5/4 meter making it feel like a stalking predator.

Yet beneath that aggressive surface lies pure harmonic logic.

Let's examine what makes this theme so striking.

Yes! For starters, aggressive articulation! Each note punches through like a hammer strike.

Yet the cello brings a dark, velvety quality to each attack.

Then, its elementary harmonic structure. The beauty lies in its simplicity - just a few chord types in clear sequence.

Sometimes the most basic elements create the strongest impact.

This theme offers several valuable opportunities.

Imagine this passed between different instrumental groups...

Or layered in canon, each voice entering like a new predator!

The clear harmonic structure makes it easy to transform.

Consider this theme a template for your own explorations.

Try different meters, or displace those marcato attacks...

Experiment with different sequences using the same chord types.

From solo instrument to full orchestral treatment.

Well, my friends, let's keep going! Another melody awaits us!

Alright, then, time for B9!

Harmonizing B9

(piece :b9 "Harmonizing B9" 120)
(timesig 4 4)
(key (major :g))
(melody (:flute 4)
  (1            2     3            4)
:m [nhd1- nq3-] [nw5] [nhd6- nq4-] [nw2])
(melody (:flute 4)
  (5                6          7           8)
:m [nh1- nq3- nq5-] [nhd6 nq4] [nh6- nh7-] [nw8])
(melody (:flute 4)
  (9                 10                  11                  12)
:m [nq9 nq6 nq7 nq9] [nq10 nq7 nq8 nq10] [nq11 nq8 nq9 nq11] [nq12 nq9 nq10 nq12])
(melody (:flute 4)
  (13            14         15          16)
:m [nh11- nh10-] [nh9- nh8] [nh13~ nh13] [nh14~ nh14])

After the intensity of B8, let's float into calmer waters with our B9 theme.

Ah yes, G major - such a warm, inviting key.

And the flute brings such... lightness to it all.

Quite a contrast to our previous... endeavors. The Music Box code doesn't show its full glory, though. Feel free to pause if you need, the score's coming up!

Harmonizing B9

Thanks, Odette! Let's have a little analysis: notice how the first eight measures...

Feel like drawing a deep breath before a story?

Minimal tension, just setting the scene.

Like morning mist over still waters.

But then comes that ascending sequence!

Climbing higher and higher...

The flute really gets to spread its wings here.

Each sequence taking us to new harmonic territory. Shall we have a listen now?

Yes, please! I can't wait!

Have you heard those two preparatory measures before the climax...

So carefully crafted...

Building anticipation for that final moment!

Where everything comes together at last.

Sixteen measures - our longest theme yet.

But notice how naturally it flows?

The proportions are quite... satisfying. Eight measures to establish, four to climb...

And two to prepare for that glorious final suspense!

Harmonizing B9

Let's explore our harmonic journey in B9.

That second measure... introducing our iii chord in such a gentle way.

The way it functions as a predominant gives it this... floating quality.

Almost like a gentle breeze carrying our flute melody.

After that ethereal moment, we return to familiar ground...

Comfortable progressions we've explored before...

Until measure eight brings us to that deceptive cadence.

Leaving us suspended, wanting more... how delicious!

Then begins our harmonic ascent!

Four sequences, each one climbing higher than the last...

Like a bird catching different thermal currents.

Each repetition bringing new colors to our palette.

And those two preparatory measures!

A true predominant celebration.

Every predominant chord getting its moment to shine.

Building such wonderful tension for our conclusion.

And finally, that half cadence...

Not quite resolved, is it?

Like a story waiting for its next chapter!

I can already imagine the developments to come...

Well, let's fuel that fire by listening to the result, shall we?

The way this harmonization supports the flute line...

It's like creating a cushion of air beneath it.

Each harmonic choice serving the melody's flight.

Making our longest theme feel like it could float forever.

You know what, my fellow composers? I feel like experimenting with a basic orchestration on this one, too...

That is a wonderful idea, Odette! I'm sure a string section can give a real boost to our emotions! Let's give it a shot!

Experimenting with B9

Alright! Let's dress our floating melody in strings.

While the flute soars above, our string choir provides the perfect foundation.

First violins taking the soprano line, seconds on alto...

Violas singing tenor, and those rich celli carrying our bass line.

The way the string parts weave together...

Like a tapestry supporting our flute melody.

Each voice maintaining its independence...

Yet blending into this gorgeous harmonic cushion.

And those basses... ah!

Doubling the celli at the octave below...

It's like adding a foundation to a building.

Giving our harmony such wonderful depth and resonance. Let's have a listen now!

It's fascinating how the same harmonies...

Take on new life with this orchestration.

The strings providing both support and movement...

While that bass doubling gives us such... gravitas!

This orchestration really serves our half cadence well.

The sustained strings making that suspension...

Float above that powerful bass foundation...

Creating the perfect setup for future developments.

What a journey through harmony we've had today!

From the mediant's dual nature - both prolonging tonic and serving as predominant...

To the leading tone chord's dramatic dominant function...

All beautifully demonstrated in our contrasting themes.

Those harmonic sequences proved quite illuminating...

Showing how the same progression can start from different scale degrees.

And our orchestration experiments!

Even with simple homophonic textures, the possibilities are endless.

We'd love to hear your own experiments with these concepts!

Visit us at scoretalk.art for sheet music and extended materials.

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Like and comment below - we love hearing your thoughts!

And prepare yourselves for our next adventure...

When we'll turn your harmonic world... upside down with inversions!

Farewell everybody... Scoretalk your way to mastery!