Harmonization

In music, harmonization (or harmonisation) is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". A harmonized scale (or harmonised scale) can be created by using each note of a musical scale as a root note for a chord and then by taking other tones within the scale building the rest of a chord. For example, using an Ionian (major scale) * the root note would become the I major chord, * the second note the ii minor chord, * the third note the iii minor chord, * the fourth note the IV major chord, * the fifth note the V major chord (or even a dominant 7th), * the sixth note the vi minor chord, * the seventh note the vii diminished chord and * the octave would be a I major chord. Using the minor (aeolian mode) one would have: * i minor, * ii diminished, * ( )III major, * iv minor, * v minor, * ( )VI major, * ( )VII major and * the i minor an octave higher.

In music, harmonization (or harmonisation) is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". A harmonized scale (or harmonised scale) can be created by using each note of a musical scale as a root note for a chord and then by taking other tones within the scale building the rest of a chord. For example, using an Ionian (major scale) the root note would become the I major chord, the second note the ii minor chord, the third note the iii minor chord, the fourth note the IV major chord, the fifth note the V major chord (or even a dominant 7th), the sixth note the vi minor chord, the seventh note the vii diminished chord and the octave would be a I major chord. Using the minor (aeolian mode) one would have: i minor, ii diminished, ( )III major, iv minor, v minor, ( )VI major, ( )VII major and the i minor an octave higher. Em7 | A7 | D | D | reharmonised (Countdown): Em7 F7 | Bb Db7 | Gb A7 | D | This kind of reharmonisation mostly requires alteration of the original melody because of the frequent modulations and therefore, becomes "reharmonisation of the changes" rather than the classic concept of re-harmonising the melody.

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