Mozart 'Twinkle, Twinkle Little Star'

Description

In this lesson we'll harmonize measures 1-4 by figuring out which chords work with each melody note. When we harmonize a major scale we get a specific set of chords. If you are new to this concept of harmonizing the major scale this tutorial covers that concept in depth.

Major Scale Harmony

To harmonize a scale means to build a chord one each note of the scale using only the notes of that scale. So, when we harmonize the A major scale we get these chords.

A major (I) a-c#-e
B minor (ii) b-d-f#
C# minor (iii) c#-e-g#
D major (IV) d-f#-a
E major (V) e-g#-b
F# minor (vi) f#-a-c#
G# dim (vii dim) g#-b-d

Now we want to associate an appropriate scale degree as a bass note to play along with each melody note. Start by look for groupings that fall within a single chord. The first note is an A (scale degree 1) which is part of an A major chord but also a D major chord. Since this is the beginning of the song it is probably best to use the I chord, the A major instead of the D major.

Analyze each melody note as it occurs and see which chord it could belong to. Most simple melodies can be harmonized by only using the I chord, called the tonic, and the V chord, called the dominant. Since this melody also has the 4th & 6th scale degrees we can add in the next most commonly used chord, the IV chord, called the subdominant. This is very typical of the style because those 3 chords have the strongest harmonic functions. Tonic is home, providing the sound of completion, or resolution. Subdominant is a bridge in between tonic and dominant function chords. Dominant is away, providing the sound of tension looking for a resolution.

We'll play each chord so the melody note is on the top, as the highest voice pitchwise to make sure it's heard clearly. This is stereotypical of the style of arranging melodies for classical guitar.

Now we can start to look for the appropriate chord to play with the melody notes. We'll start by looking for groupings that fall within a single chord. The first note is an A (scale degree 1) which is part of an A major chord. So, for a bass note I use another note that is also part of the same chord, the A major (I) chord, in this case an A (scale degree 1). This is also useful because as the beginning of the song it helps establish the key of the song firmly (as if "saying" through music, "THIS is the beginning of the song").

Since the tune is in the key of A Major we need to know the chords that are in that key. This will help us in mapping out possible bass notes to play with the melody notes. The idea is to analyze the melody notes from the perspective of harmony (i.e. chordal implications).

The notes of the tonic chord A major, the "one chord" (I):

A (1st scale degree; or Root note)
C# (3rd scale degree)
E (5th scale degree)

The notes of the dominant chord E major, the "five chord" (V):

E (5th scale degree in A major scale)
G# (3rd scale degree in A major scale)
B (2nd scale degree in A major scale)

The notes of the subdominant chord D major, the "four chord" (IV):

D (4th scale degree in A major scale)
F# (6th scale degree in A major scale)
A (1st scale degree in A major scale)

Now we want to associate an appropriate scale degree as a bass note to play along with each melody note. Start by look for groupings that fall within a single chord.