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

2. 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

3. 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

4. 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)

5. 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

6. 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)

7. 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

8. 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

9. 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)

10. 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

11. 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

12. Practice Examples
Barron’s AP Theory
AP Central