![]() ![]() Working from the beginning, we want to start on tonic, so can eliminate all other chord choices. It is best to use it in inversion within the phrase, especially to create a weaker cadence than the final cadence in bar 4. While we could use a deceptive cadence, we would have to use a V7 chord in order to use a V chord on beat 1 due to scale degree 4 in the soprano, and V7 is a strong chord that wants to move to I. Looking at the cadence in bar 2, we can eliminate IV and ii on beat 1, which leaves vii˚ and V7 to move to I for a cadence. Also, scale degree 1 repeats for 3 beats in bar 3, so we can establish tonic on beat 1 before using other chords to support scale degree 1 for the rest of the bar. While any chord is possible after cadencing on tonic in bar 2, it is always clearer to start on tonic at the start of a phrase or section. On beat 1 of bar 3, we are starting a new part of the phrase. On beat 3 of bar 3, we can eliminate the vi chord because it does not move to V. The iii chord can also be eliminated because it does not go to V. We can also eliminate I∆7 because it does not function like a I chord, and is not commonly used. ![]() Looking at the chord before last bar, we can eliminate the I∆7 chord because the chordal seventh is in the soprano and doesn’t move down by step to the next chord to resolve. If we start from the end, we want V-I for our final cadence and can eliminate all other chords. This example has a progressive cadence in bar 2 and a final cadence in bar 4. Then, look at functional harmony to eliminate choices. Determine the melodic structure, phrasing, cadences, and potential harmonic rhythm choices to help eliminate choices. The next step is to eliminate any chords from the list that we can’t use. Use the method outlined in harmonizing a melody with root position chords and with first inversion chords to find and list all chord choices. Because seventh chords have 4 chord members, there are 4 chord choices possible for each scale degree that will use the scale degree as the root, 3rd, 5th, or 7th of the chord. Our first steps are to label the key, write in the scale degrees in the soprano voice, and write in the possible chord choices that could be used on each scale degree in the soprano. When do you hear chord changes? When do you hear pauses and endings in the music? Think about melodic phrasing, cadences, and harmonic rhythm. Since we covered using second inversion chords in the last chapter, we will not use second inversion chords in this progression in order to allow room to explore the different types seventh chords. Let’s look at an example to apply the guidelines outlined when harmonizing a melody using seventh chords. In addition to Workbook Chapter 11.4, see the example below. 11.4 Harmonizing a Melody With Seventh Chords: Theory exercises ![]()
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