Bar 2 has a pause in the music and needs a weaker cadence than the cadence in bar 4, which should be a strong, conclusive cadence. They should be I chords, so we can eliminate all other choices. We can then look at the first and last chords. We can eliminate all iii and vi chords because we are not using them in our root position progressions. Then, look at functional harmony to eliminate choices. Determine the melodic structure, phrasing, cadences, and potential harmonic rhythm choices. The next step is to eliminate any chords from the list that we can’t use. The next possible chord is a I chord (2 backwards from iii), and the last possible chord is vi (2 backwards from I). Then count two chords backwards in the scale to find the last chord. Then count backwards two chords in the scale in order to find the next chord. Start with the chord built on the scale degree. Each scale degree could be the root, 3rd, or 5th of a chord. Next, create a list of the three possible chords that can be supported by each scale degree. Our first steps are to label the key, write the chords used in the key in root position, and write in the scale degrees in the soprano voice. When do you hear chord changes? When do you hear pauses and endings in the music? Think about melodic phrasing, cadences, and harmonic rhythm. Let’s look at an example of harmonizing a melody with root position chords. In addition to Workbook Chapter 11.2, see the example below. 11.2 Harmonizing a Melody with Root Position Triads: Theory exercises
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