AP Music Theory Mr. Silvagni Harmonizing a Melody AP Music Theory Mr. Silvagni

Write a Bass Line The last written section of the AP test asks you to write a bass line to a given melody There are 8 measures in total and the bass line is provided for the first 21/2 measures You must also provide roman numerals to imply harmony with the bass line

Harmonizing a Melody Tips Final written section of the AP exam Identify the notes of the melody with either scale degree numbers or solfège Do the cadences first Cadences end with I (i), vi (VI), or V only Use root position chords for the final two chords Do not invert needlessly Do not use seventh chords excessively Do not use root position viio Do not use non-chord tones excessively (or use none) Do not use second inversion triads outside of the four types Identify any notes out of the key and what that implies

More specific tips Write a chord menu (major and minor) Cadences first Write out chords I, ii(7), IV, V(7)/V, V(7), vi, and vii(ø7) Write out chords i, ii(ø7), iv, V(7)/V, V(7), VI, and vii(o7) Cadences first Identify chord choices and start phrases with tonic if possible Determine harmonic rhythm…chose which notes from soprano will be NCTs Keep in mind tonic, subdominant, dominant, tonic flow as you pick chords Make sure bass line is a consonant counterpoint to melody Check for parallelism, retrogression, and correct resolution of tendency tones (Ti-Do, Fa-Mi)

Writing Cadences Authentic Cadences Soprano Line Bass Line Harmony Mi (or Me) Re Do Do Ti Do Do Re Do Sol Sol Do I64-V(7)-I i64-V(7)-i Re Ti Do Fa Ti Do Fa Sol Do IV-V-I or ii6-V-I iv-V-i or iio6-V-i

Writing Cadenecs Half Cadences Melody ends on Sol, Ti, or Re Ti and Re have to be half cadences, Sol can be IAC Use root position V Before the cadence Harmonize Re, Fa, or La (Le) with Fa in the melody and IV or ii6 (iv or iio6) Harmonize Do, Mi (Me), or Sol in the melody with Sol in the bass and I64 (i64) The Phrygian half cadence occurs only in minor…bass line must be Le-Sol and the melody is commonly Fa-Sol If two cadences both end with Sol, both could be a half or one could be IAC (not both IAC) If the melody ends with Sol and it preceded by Fi, then harmonize Fi with root position V/V and Sol with root position V Common Soprano lines: (Re-Ti, Re-Mi[Me]-Fa-Sol, Mi[Me]-Re, La[Le]-Sol, Fa-Sol, Mi-Fi-Sol, Sol-Fi-Sol, Do-Do-Ti, Do-Re)

Writing Cadences Deceptive Cadences Soprano line ends on Do or Mi(Me), NOT La/Le If you choose deceptive, V-vi or V-VI should all be in root position Before V? Predominant chords like ii6 or IV(iio6 or iv); or I64 (i64) if it’s a strong beat

Writing Cadences Plagal Cadence Fa, La(Le), or Do going to Do, Mi(Me), or Sol Usually Fa-Mi (Fa-Me) or La-Sol (Le-Sol) Must use root position IV-I or iv-i

Phrase Beginnings Observe what has been written for you…take their ideas if melody line repeats in any way What’s the last chord written? Does it have a specific resolution? New phrase is like starting over…no points scored for connection between last chord of one phrase into first chord of next Most common bass lines that begin phrases: I-V6-I (Do-Ti-Do) I-IV64-I (Do-Do-Do) I-V64-I6 (Do-Re-Mi)

Everything Else You don’t have to harmonize every beat Do NOT use NCTs in the bass line Do NOT invert carelessly Do NOT use seventh chords except at cadences P4 above bass must resolves downward No retrogression (V-IV, V-ii6, ii-IV) Write standard progressions, such as vi-ii-V-I

Order of Completion Complete the cadences Start the phrases with I (tonic), if possible, then decide on the harmonic rhythm Fill in the beats between the cadences

Practice Examples Barron’s AP Theory AP Central