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Harmonization
- Thread starter cassanova
- Start date
Goodness, that's a pretty broad question!
What is the context here, cass? What instruments, what style etc.?
But, no, it's not just playing the same thing in a different octave. That's not really harmonization at all, I'd say - that's unison. To me, harmony implies that the instruments aren't playing the same notes (or the same notes an octave higher or lower etc.).
But I don't really know how to answer that question in any kind of helpful way, without you elaborating the question!
What is the context here, cass? What instruments, what style etc.?
But, no, it's not just playing the same thing in a different octave. That's not really harmonization at all, I'd say - that's unison. To me, harmony implies that the instruments aren't playing the same notes (or the same notes an octave higher or lower etc.).
But I don't really know how to answer that question in any kind of helpful way, without you elaborating the question!
- May 30, 2000
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- Creator of: iGigBook Sheet Music Manager
The article posted does a good job of explaining the process. If you want to know more get a book on arranging to find out what instruments to voice where.
cassanova, the goal is usually to sound out a chord using different instruments to sound out different parts of the chord.
Take this progression:
Fmin7 Bb7 EbMaj7
Two basses could harmonize this in a number of different ways. One bass plays the root, the other the seventh, one the root , the other the third, one the root the other the fifth.
cassanova, the goal is usually to sound out a chord using different instruments to sound out different parts of the chord.
Take this progression:
Fmin7 Bb7 EbMaj7
Two basses could harmonize this in a number of different ways. One bass plays the root, the other the seventh, one the root , the other the third, one the root the other the fifth.
yea i feel its more about harmonizing a group of notes and not just "how do i harmonize this note with that one."
i tend to think chordally when harmonizing. just think of the notes in context.
i tend to think chordally when harmonizing. just think of the notes in context.
Harmonize - simultaneous playing of notes in a chord.
Ok, so that's the dictionary-style definition, but I had a thought that I wanted to share, & hear your opinions.... In the use of harmony, the typically combined notes in the chord give consonance to the resulting sound. If the combined notes give dissonance, is it still technically a 'harmony'???
Ok, so that's the dictionary-style definition, but I had a thought that I wanted to share, & hear your opinions.... In the use of harmony, the typically combined notes in the chord give consonance to the resulting sound. If the combined notes give dissonance, is it still technically a 'harmony'???
i tend to go modal when thinking of harmonies
i.e. if my melody is I, II, III, I, IV, V in C Ionian and I want to harmonise a third up I'll play I, II, III, I, IV, V in E Phrygian - for example.
If you do it this way your harmony will be strictly diatonic... you could however want every note to have a perfect 5th harmony, tin which case you'd play the same pattern of intervals starting on the root a perfect 5th up.
What i want to know is how would I go about creating a minor 3rd harmony of a CMajor melody?
i.e. if my melody is I, II, III, I, IV, V in C Ionian and I want to harmonise a third up I'll play I, II, III, I, IV, V in E Phrygian - for example.
If you do it this way your harmony will be strictly diatonic... you could however want every note to have a perfect 5th harmony, tin which case you'd play the same pattern of intervals starting on the root a perfect 5th up.
What i want to know is how would I go about creating a minor 3rd harmony of a CMajor melody?
Originally posted by bimplizkit
Harmonize - simultaneous playing of notes in a chord.
Ok, so that's the dictionary-style definition, but I had a thought that I wanted to share, & hear your opinions.... In the use of harmony, the typically combined notes in the chord give consonance to the resulting sound. If the combined notes give dissonance, is it still technically a 'harmony'???
Sure.
Dissonance resolving to consonance is an important part of Western harmony. It doesn't have to be consonant to be described as harmony.
Originally posted by Howard K
i tend to go modal when thinking of harmonies
i.e. if my melody is I, II, III, I, IV, V in C Ionian and I want to harmonise a third up I'll play I, II, III, I, IV, V in E Phrygian - for example.
Yeah, generally that's how it's done. You'd call it harmony in thirds, but to remain in key, some of the 3rds will be major 3rds, some will be minor 3rds.
If you do it this way your harmony will be strictly diatonic... you could however want every note to have a perfect 5th harmony, tin which case you'd play the same pattern of intervals starting on the root a perfect 5th up.
Yeah. Doesn't sound so nice
Though, this is the sort of approach taken in Gregorian Chant, isn't it?
What i want to know is how would I go about creating a minor 3rd harmony of a CMajor melody?
You wouldn't
I suppose what you mean is, harmonize a major melody as if it was minor?
You could just use the third mode of whichever minor scale you wanna use - instead of E Phyrgian?
- May 30, 2000
- 4,707
- 257
- Disclosures
- Creator of: iGigBook Sheet Music Manager
- May 30, 2000
- 4,707
- 257
- Disclosures
- Creator of: iGigBook Sheet Music Manager
That may work if it's just two people singing or two instruments playing, but if you have a chordal instrument in the mix, you will have to have chords that work with the harmonized melody.
Parallel minor 3rds may work - but it depends what form of the minor you want to use to harmonize it.
Well y'know you got yer natural minor, harmonic minor and melodic minor... which are you gonna use?
Just thought I would ask a question in this thread since it pertains to harmony instead of making a new thread.
How would you go about harmonizing chromatic/passing tones/blue notes?
How would you go about harmonizing chromatic/passing tones/blue notes?
Intrestin Q?
I think it would depend on where the harmony is leading? If it's leading back to the tonic or into a dominant chord?
You could create a modal harmony on your main melody, then hang on a note while the melody used chromatics. Dpending on which note you hung on the harmony of the passing tone could be consonant or dissonant... Does that make ANY sense?!
