Checkpoint: Harmonize a Melody

After this lesson, you will be able to analyze the original eight-measure melody The Way Home Through the Window, choose harmony by structural melody notes, harmonic rhythm, bass, and cadence, and present one complete harmonization as a reasoned option among other viable choices.

Stage 1: read the complete melody first

Together, the two systems form one original eight-measure melody, not an adaptation of existing repertoire. It is in C major, 4/4, with range B3–C5. Give special attention to notes on beat 1, long notes, the high C5, and the final C4. Shorter connecting notes may be non-chord tones when their motion and resolution are convincing.

Do not change harmony under every note. This checkpoint uses one chord per measure so harmonic rhythm stays clear. Before reading the models, write at least two candidates for E4 in measure 1, F4 in measure 2, and A4 in measure 5 from the C-major chords you know.

Stage 2: choose by phrase, bass, and color

One melody pitch can belong to several chords. E belongs to C, Am, and Em; F belongs to Dm, F, and G7; A belongs to Dm, F, and Am. Membership alone cannot make the decision. Consider destination, surrounding harmony, bass line, cadence, and the degree of stability or tension you want.

Option A follows a clear functional route: C–Dm–C–G | Am–F–G7–C. Option B shifts the center of color toward minor chords: Am7–Dm7–Am7–Em | Am7–Dm–G7–C. They share G7–C at the cadence but differ across the first six measures in harmonic path and bass. Neither option is the one correct answer.

Stage 3: keep the melody on top

The scores below use single left-hand bass notes for clarity. On beat 1, chord tones sit beneath the melody; later attacks continue the original melodic line. Some pitches remain legitimate non-chord tones: A4 above C in Option A measure 1 creates open color, and E4 over Dm in measure 2 moves down to D4.

For your own version, record four separate layers: chord symbol, spelling, bass or inversion, and actual voicing. If you move another chord member to bass, update the slash symbol or inversion. If the bass is not a chord member, do not call it an inversion.

Exercise

Option A: a clear functional arrival

Play all eight measures and label I–ii–I–V | vi–IV–V7–I. Notice that A4 in measure 1 is not a C-chord tone and E4 in measure 2 is not a Dm-chord tone. Both work as directed melodic colors while bass and harmony remain clear.

Option B: minor color and more chord-tone support

Play all eight measures and label vi7–ii7–vi7–iii | vi7–ii–V7–I. In measure 1, E–G–A all belong to Am7, while Option A uses C and treats A4 as color. In measure 4, Option A uses G and Option B uses Em; both support B4–G4 with chord tones.

Choose A, B, or create a third option. Submit eight complete measures with one chord per measure, unchanged melody, explicit bass, and four sentences explaining at least two decisions. Assessment is not based on matching a model.

Common mistakes

• Symptom: Changing chords under every quarter note. Correction: Keep one chord per measure and classify connecting tones.
• Symptom: Choosing only because a chord contains one pitch. Correction: Check structural notes, neighbors, bass, and cadence together.
• Symptom: Treating Option A as the answer. Correction: Play B completely and identify its different shared tones and bass before defending your own choice.

Frequently asked questions

Must every melody note be a chord tone? No. Structural tones need careful support; passing, neighboring, or color tones may sit outside the chord when handled deliberately.

Why are both options valid with different bass lines? Several chords can support the same melody pitch. Phrase, harmonic rhythm, bass, function, and intended color guide the choice.

Must I choose A or B to pass? No. Choose one, revise it with reasons, or write a third. Accuracy, playability, and musical reasoning determine the result.