![]() The cad 6/4 must be metrically stronger than the V that follows.Need a soprano line that can support tonic followed dominant harmony.Used only at a cadence directly before a V chord.cadential 6/4: most common 6/4 chord, so it’s a good option to look for first. ![]() Look for places where you can insert a 6/4 chord.We will still focus primarily on Progression, Repetition, and Tonic motions between chords. When part writing with first inversion chords, we can allow using iii and vi, but need be very careful of when and how they are used to prolong progressions and connect chords. Eliminate any chords that cannot be used (either from motion in the soprano, connections between chords, or from choices made in phrasing/harmonic rhythm/cadences).Identify the melodic phrase structure/cadence points and determine harmonic rhythm.List chord possibilities under each note in the soprano.Write in the scale degrees in the soprano voice.Write down the chords contained in the key in root position. ![]() ![]() The basic steps to harmonizing a melody are the same as those used for root position chords, but we look for for opportunities to use second inversion chords as well as smooth out our progression and add flexibility to our chord choices using first inversion chords.įor a review on part writing first inversion chords, see chapter 10.3.įor a review on part writing second inversion chords, see chapter 10.4. Part writing in all inversions allows us to put combine our knowledge of part writing for root position, first and second inversion chords. Inversions will allow us to create more interest and variety in the music as well as a smoother, more singable bass line. Now that we understand harmonizing a melody with root position chords, we can expand our palate and add on chords in first and second inversion. 11.3 Harmonizing a Melody With Triads in Inversion: Tutorial Harmonizing a Melody with Triads in Inversion ![]()
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