Basic Harmonization: Jermaine Griggs & Chuku Onyemachi

Jermaine Griggs
& Chuku Onyemachi

QUICK GUIDE
ON
Basic
Harmonization

HARMONIZING ALL SCALE TONES IN
ALL KEYS USING
THREE
CHORDS

PRELIMINARY
CHAPTER:
Harmonization
Defined

2
INTRODUCTION
In music, there are two relationships that exist between
melody
notes – and harmony .

Melody is the relationship between notes that are heard
separately while harmony is the relationship between
notes that are heard simultaneously.

It’s common to start one’s musical journey with
melody . Learning about Notes (their names, sharps and
flats, etc.), then proceeding to
Scales (fingering,
melody determination, etc). After all that, when you’re
probably able to play a few songs with one finger
(melody), there’s an innate desire to harmonize .
Definition
Harmonization is simply the sounding of notes
simultaneously in relationship to a given melody.

This is serious business because when notes are
sounded in such a way that harmony is created, the
outcome is not usually pleasant and agreeable. If you
don’t know the basics to harmonization, you may end
up with an inharmonious and unpleasant outcome.

3

CHAPTER 1
Introduction to
Harmonization

4
Acquiring this guide shows how
determined you are to learn how to
transform onefinger melodies into
fullsounding chords.

In this chapter, we’re starting at the
very beginning and laying a
foundation for a thorough
understanding of harmony.

Every page will take you further into
this harmonization adventure.

Welcome aboard!

5

INTRODUCTION

The goal of this harmonization course is to equip you
with what it take to harmonize the scale.

We are confident that you’ll be able to harmonize any
melody because for the most part, melodies are
derived from the scale. In this guide, we’ll be focusing
on the major scale.

Scales are melodic figures. This is because the mode
of relationship between the notes of a scale does not
make provision for more than one note to be played
at once.

In our fundamental series course, HearandPlay 110
– “All About Notes ,” the relationship between notes
in this manner is introduced as melody. Playing the
notes below one after the other will sound “melodic.”

6

In this course, we are approaching scales from a
“harmonic” perspective. We want each tone of the
in
scale to be sounded in relationship with other notes
accompaniment
.
Chords and
Melody Notes

Chords are harmonic structures formed by a total of
three or more notes that are related by an underlying
scale and class of harmony. That’s how we defined it
in our awardwinning music fundamental series
course
HearandPlay 140 – “All About Chords .”
7
Below are chords of various classes:

C Major triad

C Minor seventh

C Major ninth

Irrespective of the quality or the number of notes in a
chord, the highestsounding note is called the
melody note . In all three cases above, G, B
♭ and D
are the melody notes.

Let’s switch perspective a bit. Chords, especially
triads,
can be formed when a choir is singing (which
are obviously soprano, alto and tenor).
8
Have you ever wondered why soprano singers (who
usually sing the melody of the song) sing the highest
part? The highest note (which is the melody note) has
the highest frequency and that makes it easy for the
ear to distinguish it from other pitches.

We covered frequencies and pitches in HearandPlay
110 – “All About Notes .”

If the root position triad (CEG) below is sounded,

G is the highest sounding note . Therefore, G is
the melody note of the root position of the C Major
Triad.

9
If we use the first inversion of C major, which is
EGC,

C is the highest sounding note, aka “the melody
note.” Using various inversions of a chord give you
the opportunity to utilize different melody notes in the
same chord.

C major chord can be played in three possible ways:

Root position G
CE ‘G’ as melody
note
First inversion C
EG ‘C’ as melody
note
Second inversion E
GC ‘E’ as melody
note

Considering the melody notes that each of the ways
of playing C Major affords, we can carefully note
that...

C
C can be harmonized using EG
10

E
E can be harmonized using GC
G
G can be harmonized using CE

Simply put, the number of tones a chord can
harmonize is equal to the number of tones in the
chord.

C major has three tones – C, E and G. Therefore C
major can harmonize three scale tones – C, E and G.

11

CHAPTER 2
Harmonic
Analysis I

12

13
INTRODUCTION

Before you get into harmonization, it is important for
us to show you the rationale behind the basic
harmonization covered in this course. This is because
we believe that you need to know the why
and not
how
just the .

The Power of
Three
Our harmonic source in this course are primary
triads.

Primary triads are triads of the first, fourth and fifth
degrees of the scale.

Triads are chords. Use of the term “triad” makes it
obvious to remember that these chords have three
per octave
notes .

This quick guide features threenote chords (triads).
Therefore, we’ll use the terms “triad” and “chord”
interchangeably.

In our “Quick Guide on Voice Leading
Techniques for Triads ,” we taught you how to
connect these primary chords (three of them) in any
14
key effortlessly. In this course, we’re taking you on a
harmonic adventure that will deepen your
understanding of these chords by exposing their
harmonic use in Basic Harmonization .

Three Primary Triads – Chords 1, 4 & 5

Remember what we covered in chapter 1:

The number of tones a chord can harmonize is equal to the
number of tones in the chord. C major has three tones – C,
E and G. Therefore C major can harmonize three scale
tones – C, E and G.

In the key of C, the C major triad aka “tonic triad”
(which is one of the three primary chords) has what it
takes to harmonize C, E and G (which are the first,
third, and fifth tones of the C major scale [the key
we’re in].

If the tonic triad can harmonize three out of seven
notes, then that’s pretty much 43% of the major
scale harmonized.

The major scale has seven unique notes (C, D, E, F,
G, A, B). 50% of 7 is 3.5 right? This means that the
15
harmonizing potential of the tonic triad root
(the triad
or the same key that you’re in… in this case, C major)
is a little bit below 50% and that for sure means that
(with this triad covered), you have half of the job
done .

Harmonic Analysis
Below are the three primary chords of C major.

They account for 100% of the harmonic possibilities
16
in basic harmonization.

Considering that three primary
chords are 100% of harmonic possibilities , then
the power of one triad is 33%. Let’s go further into
this analysis:

The C major scale above represents all the possible
notes that we can harmonize (this doesn’t mean that
other notes outside the scale cannot be harmonized –
No!).

Remember that our focus in this course is the major
scale, which has seven notes. If these seven scale
tones are 100% of melodic possibilities , then the
harmonization of three scale tones using one primary
triad (by virtue of the three possible ways it can be
played [root position + two inversions]), has done 3/7
of 100%, which is 43%.

With that, you can see that 33% of the harmonic
possibilities (one of the THREE primary chords) in the
key of C Major (which are C major, F major and G
major) can harmonize 43% of the melodic
possibilities. More on this later.

C Major harmonizes 43% of the major scale (C, E and
G [stable tones) and we’re left with 57% (D, F, A and
17
B [active tones]). We’ll look at stable and active tones
shortly.

Harmonic
Potentials of
Primary Triads
C major harmonizes 43% of the major scale and so
does F major and G major.

C Major harmonizes 43% of the major scale (C, E and
G)
F Major harmonizes 43% of the major scale (F, A and
C)
G Major harmonizes 43% of the major scale (G, B and
D)

If we invest 3 primary chords, they have the potential
to yield 129% of harmonization benefits and that’s
29% interest. Putting our analysis together, it will
sound like this:

Within the premises of primary triads usage, 100% of the
harmonic possibilities of any key, if put to work, will yield
129% of melodic possibilities.

This means that harmonization using (just three)
primary triads exceeds our melodic possibilities (the
major scale) by 29%. We know you are pleased to
18
hear that and so are we.
What this means is that in some instances, you will
have choices. For example, most of the time, in C
major, the melody note “C” will be harmonized by a C
major chord (as you’ve learned).

But in some instances, this is not the case. In “Yes
Jesus Loves Me” in C major, on the “me,” the melody
note is C. However, the chord that harmonizes it is F
major (with C on top).

You’ll learn in these instances, how to know which
primary chord to use as your harmonizing tool when
there are more than one option.

We really have no intention of boring you any longer
with lots of calculations.

So let’s go into depth about the rationale behind most
of the things covered so many years ago in our
“Gospel Keys 101 Hymns and Congregational
Songs” course .

If you don’t have this course, don’t worry. Visit
http://www.gospelkeys101.com to invest in this
comprehensive DVD course on basic harmonization
where it takes you by the hand and shows you these
concepts in video format.

19

SECTION

2

20

CHAPTER 3
Harmonic
Analysis II

21
INTRODUCTION

In the previous chapter, we were concerned with the
tonic triad (C major) and we cited examples around
the tonic triad.

In this chapter, we’ll be looking at chords 4 and 5,
which are called the “subdominant” and “dominant”
triads, respectively, before putting everything
together for you.
Subdominant and
Dominant Triads
Let’s look at chords 4 and 5. In the key of C major,
that’s F and G major.

F major triad can be played in three possible ways:

C ‘C’ as melody note
FA

22

F ‘F’ as melody note
AC

A ‘A’ as melody note
CF

of playing F Major affords, it’s crystal clear that F, A
and C can be harmonized using the subdominant
triad (F major).

C
C can be harmonized using FA
F
F can be harmonized using AC
A
A can be harmonized using CF

23
G major triad can be played in three possible ways:

D
GB ‘D’ as melody note
G
BD ‘G’ as melody note
DGB ‘B’ as melody note

of playing G Major affords, we can deduce that...

D
D can be harmonized using GB

G
G can be harmonized using BD

B
B can be harmonized using DG
24
Now, let’s combine the melodic possibilities of all the
harmonic possibilities (which is another way of saying,
“let’s combine the possible number of melody notes
that can be harmonized using primary triads.”)

C Major (43%)
● C
C can be harmonized using EG
● E
E can be harmonized using GC
G
● G can be harmonized using CE
F Major (43%)
● C
C can be harmonized using FA
● F
F can be harmonized using AC
A
● A can be harmonized using CF
G Major (43%)
● D
D can be harmonized using GB
● G
G can be harmonized using BD
● B
B can be harmonized using DG

If we rearrange the melody notes alphabetically,
we’ll have:
● C C
EG
● C C
FA
● D D
GB
● E E
GC
● F F
AC
● G G
CE
● G G
BD
● A A
CF
● B B
DG
25

If you look at the possibilities above, you’ll see that
there are two ways to harmonize the C melody note:

● C C
EG Using Chord I
● C FAC

Using Chord IV

There are also two ways to harmonize the G melody
note:
● G G
CE Using Chord I
● G G
BD Using Chord V

When I established that 100% of primary chords will
give us 129% of melodic options, this is what I
meant!

We can only harmonize 100% of scaletones using
100% of chords. Therefore, we are sacrificing the
extra 29% (for now) because we need 100%.
Question is, what do we sacrifice, and why?

The chord tones of the tonic (first tone) triad are
called stable tones
. This is because they give us a
sense of gravity, attraction or pull towards the tonic
(home).

Therefore, in basic harmonization, it’s harmonically
satisfactory to harmonize the chord tones of the
tonic triad (C, E and G [stable tones]) using the tonic
triad.

26
The key of C major has CEG as its tonic triad.
Therefore, it is harmonically satisfactory to harmonize
the single melody notes “C,” “E,” and “G,” which are
the first, third and fifth scale degrees, using the tonic
triad.

C E
D G
F A B C

Therefore, while the following harmonizing chords
have their place, in basic harmonization, the I chord
will take precedence over the IV and V chords.

The IV and V chords can be reserved to fit into
certain harmonic environments they can thrive in.

Below is a table of melody note distribution across the
three primary triads

Triad Melody Notes Percentage
Tonic 1st
,3 & 5th
rd
42%
(Chord I)
Subdominant 4th
& 6th
29%
(Chord IV)
Dominant 2nd
& 7th
29%
(Chord V)

Chords IV and V have a melody note distribution of
29% each while Chord I takes care of 42% of melody
notes. This is because Chord 1 is the
tonic triad and
its chord tones are stable tones.

27
Let’s put it to work by harmonizing the C Major Scale
using primary triads as follows:

C
EG first inversion of Chord I
D
GB root position of Chord V
E
GC second inversion of Chord I
F
AC first inversion of Chord IV
G
CE root position of Chord I
A
CF second inversion of Chord IV
B
DG second inversion of Chord V
C

*This is a wonderful exercise to practice daily. Simply
play the scale, C D E F G A B C, first with single
notes. Then, proceed to harmonize the scale using
the chords above. Use a metronome to keep rhythm.
Stable Tones vs
Active Tones
Basic harmonization is incomplete without an
understanding of the relationship between stable and
active tones. In harmonization, it is important to know
that within the major scale, all notes are not the
same.

There are stable tones and there are active tones.
Stable tones (ST) are the chord tones of the tonic
28
triad. Considering that the tonic triad is built off the
first, third, and fifth degrees of the major scale, these
tones are stable.

Active tones (ac/Ac) are other tones of the scale –
second, fourth, sixth and seventh.

1st 2nd 3rd 4th 5th 6th 7th
ST ac ST Ac ST ac ac

There are three stable tones and four active tones.

Active Tones
Traditionally, besides the seventh degree (leading
note) which resolves upwards, ALL active tones
resolve downwards.

Resolution of 2 to 1
D
GB C
resolves downwards to EG

29

Resolution of
4 to 3
F
AC E
resolves downwards to GC

Resolution of
6 to 5
A
CF G
resolves downwards to CE

30

Resolution of
7 to 1
B
DG C
resolves upwards to EG

31
Stable Tones

The chord tones of the tonic triad (first, third, and
fifth) are all stable, but even they are not created
equally.

The First. The most stable is the first tone and it’s
also important to note that two active tones resolve
to it. As you’ve learned above, the seventh tone
resolves upwards to the first and the second tone
resolves downwards to it.

B
DG C
resolves upwards to EG
GBD resolves downwards to EGC

In both cases, the underlying harmony is derived
from chord 5. As a matter of principle, the strongest
pull in harmony is between chords 5 and 1 (from
dominant to tonic). So the primary function of chord 5
in this basic harmonization course is to connect active
tones (seventh and second) to the first tone.

Using a 51 chord progression, we can harmonize the
seventh, second, and first tones of the scale:

7 moves up to 1

32

2 moves down to 1

The Third and Fifth. The third and fifth may not be
as stable as the first tone; however, they are
universally considered stable. Two active tones
resolve to the third and fifth, respectively. The fourth
tone resolves downward to the third while the sixth
resolves downward to the fifth tone.

F
AC E
resolves downwards to GC
33
CFA resolves downwards to CE G

In both cases, the underlying harmony is derived
from chord 4. The primary function of chord 4 in this
basic harmonization course is to connect active tones
(fourth and sixth) to the third and fifth tones,
respectively.

Using a 41 chord progression, we can harmonize the
sixth, fifth, fourth and third tones of the scale:

6 moves down to 5

34
4 moves down to 3

In other contexts, this is known as the “amen”
cadence.
35

CHAPTER 4
Basic
Harmonization

36
INTRODUCTION

It’s harmonization time and we are so excited to show
you how to harmonize the major scale in ALL keys.

Not just that, we’re also preparing you for the
adventure by outlining the primary triads of every key
and their respective inversions.

Enjoy!

37
C Major

C F
D E G
A B

Chord I CEG
Chord IV FAC
Chord V GBD

C
D
GB root position of Chord V
E
GC second inversion of Chord I
F
AC first inversion of Chord IV
G
CE root position of Chord I
A
CF second inversion of Chord IV
B
DG second inversion of Chord V
C

38
1st Tone

2nd Tone

rd
3 Tone

th
4 Tone

th
5 Tone
39

th
6 Tone

th
7 Tone

th
8 Tone
40
D
♭
Major

D
♭
E G
F
♭ ♭A
♭
B C
♭

Chord I DFA
♭ ♭
Chord IV GB
♭
♭D♭
Chord V A
♭CE
♭

FA D

♭ ♭ first inversion of Chord I
A E
C
♭ ♭ root position of Chord V
AD
♭ F

♭ second inversion of Chord I
BD
♭ G

♭ ♭ first inversion of Chord IV
D A
F
♭ ♭ root position of Chord I
DG
♭ B

♭ ♭ second inversion of Chord IV
EA
♭ C

♭ second inversion of Chord V
FA D


41
st
1 Tone

2nd Tone

rd
3 Tone

th
4 Tone

th
5
Tone
42

th
6 Tone

th
7 Tone

th
8 Tone

43
D Major

D
E F G
♯ A
B C
♯

Chord I DF
♯A
Chord IV GBD
Chord V AC♯
E

F D
A
♯ first inversion of Chord I
AC E

♯ root position of Chord V
F
AD♯ second inversion of Chord I
G
BD first inversion of Chord IV
DF A

♯ root position of Chord I
B
DG second inversion of Chord IV
C
EA♯ second inversion of Chord V
F D
A

44
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
45

th
6 tone

th
7 tone

th
8 tone

46
E
♭
Major

E
♭
F A
G
♭B
♭
C D

Chord I E
♭
GB♭
Chord IV A
♭CE
♭
Chord V B♭
DF

GB E

B F
D
♭ root position of Chord V
BE
♭ G

CE A

E B
G
EA
♭ C

♭ second inversion of Chord IV
FB D

GB E


47
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
48

th
6 tone

th
7 tone

th
8 tone
49
E Major

E
F
♯G
♯AB
C
♯
D
♯

Chord I EG♯B
Chord IV AC♯E
Chord V BD♯ F
♯

G E
B
BD F

♯ ♯ root position of Chord V
G
BE ♯ second inversion of Chord I
C A
E
♯ first inversion of Chord IV
EG B

C
EA♯ second inversion of Chord IV
F D
B
♯ ♯ second inversion of Chord V
G E
B

50
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
51

th
6 tone

th
7 tone

th
8 tone

52
F Major

F B
G A ♭
C
D E

Chord I FAC
Chord IV B
♭DF
Chord V CEG

F
AC first inversion of Chord I
G
CE root position of Chord V
A
CF second inversion of Chord I
B
DF♭ first inversion of Chord IV
C
FA root position of Chord I
FB D

E
GC second inversion of Chord V
F
AC first inversion of Chord I

53
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
54

th
6 tone

th
7 tone

th
8 tone

55
G
♭
Major

G
♭

A
♭
B
♭C
♭
D
♭
E
♭
F

Chord I G
♭
B♭D♭
Chord IV C
♭E
♭G♭
Chord V D
♭FA
♭

BD
♭ G

D A
F
DG
♭ B

♭ ♭ second inversion of Chord I
EG
♭ C

GB
♭ D

GC
♭ E

♭ ♭ second inversion of Chord IV
AD
♭ F

B D
♭ G


56
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
57

th
6 tone

th
7 tone

th
8 tone

58
G Major

G C D
A B E F
♯

Chord I GBD
Chord IV CEG
Chord V DF♯
A

G
BD first inversion of Chord I
DF A

B
DG second inversion of Chord I
C
EG first inversion of Chord IV
D
GB root position of Chord I
E
GC second inversion of Chord IV
F
AD♯ second inversion of Chord V
G
BD first inversion of Chord I

59
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
60

th
6 tone

th
7 tone

th
8 tone

61
A
♭
Major

A
♭

B
♭ D
C ♭
E
♭
F G

Chord I A
♭
CE♭
Chord IV D
♭FA♭
Chord V E
♭ GB
♭

CE A

E B
G
EA
♭ C

FA D

A E
C
AD
♭ F

BE
♭ G

CE A


62
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
63

th
6 tone

th
7 tone

th
8 tone

64
A Major

A
B C
♯D E
F
♯
G
♯

Chord I AC
♯E
Chord IV DF
♯A
Chord V EG♯B

C A
E
EG B

C
EA♯ second inversion of Chord I
F D
A
AC E

F
AD♯ second inversion of Chord IV
G
BE ♯ second inversion of Chord V
C A
E

65
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
66

th
6 tone

th
7 tone

th
8 tone

67
B
♭
Major

B
♭
E
C D ♭
F
G A

Chord I B
♭
DF
Chord IV E
♭
GB♭
Chord V FAC

B
DF♭ first inversion of Chord I
C
FA root position of Chord V
FB D

GB E

B F
D
♭ root position of Chord I
BE
♭ G

A
CF second inversion of Chord V
B
DF♭ first inversion of Chord I

68
st
1 tone

nd
2 tone

rd
3 tone

th
4 tone

th
5 tone
69

th
6 tone

th
7 tone

th
8 tone

70
B Major

B
C
♯
D
♯E F
♯
G
♯
A
♯

Chord I BD♯
F
♯
Chord IV EG
♯B
Chord V F
♯
A♯C
♯

DF
♯ B

FA
♯ C

♯ ♯ root position of Chord V
F D
B
♯ ♯ second inversion of Chord I
G E
B
BD F

♯ ♯ root position of Chord I
G
BE ♯ second inversion of Chord IV
C
♯F
♯ A
♯ second inversion of
Chord V
DF
♯ B


71

st
1 tone

nd
2 tone

rd
3 tone

th
4
tone

th
5 tone
72

th
6 tone

th
7 tone

th
8 tone

73
Basic
Harmonization

ALL KEYS USING
THREE
CHORDS
WorkBook
50

Exercises

74
DOT THE NOTES THAT CAN BE HARMONIZED BY A
GIVEN MAJOR TRIAD.
Question:
Dot the number of notes C major triad can
harmonize.
The number of tones a chord can harmonize is
Clue:
equal to the number of tones in the chord.
Answer:
75
Question #1
Question:
Dot the number of notes
C major triad
can harmonize.
Clue:
Answer:

76
Question #2
Question:
A major triad
♭
can harmonize.
Clue:
Answer:

77
Question #3
Question: Dot the number of notes
D major
♭
triad
can harmonize.
Clue:
Answer:
78
Question #4
Question:
B major triad
♭
can harmonize.
Clue:
Answer:

79
Question #5
Question:
F major triad
can harmonize.
Clue:
Answer:
80
Question #6
Question:
D major triad
can harmonize.
Clue:
Answer:
81
Question #7
Question:
B major triad
can harmonize.
Clue:
Answer:

82
Question #8
Question:
G major triad
can harmonize.
Clue:
Answer:

83
Question #9
Question:
E major triad
can harmonize.
Clue:
Answer:

84
Question #10
Question:
A major triad
♭
can harmonize.
Clue:
Answer:
85
Question #11
Question:
F major triad
can harmonize.
Clue:
Answer:

86
Question #12
Question:
C major triad
can harmonize.
Clue:
Answer:

87
Question #13
Question:
E major triad
♭
can harmonize.
Clue:
Answer:

88
Question #14
Question:
B major triad
♭
can harmonize.
Clue:
Answer:

89
Question #15
Question:
D major triad
can harmonize.
Clue:
Answer:

90
HARMONIZE THE GIVEN NOTES AS
SCALE TONE #1
USING THE APPROPRIATE CHORD.
Question: Harmonize the given note as tone #1 in the
key
of E
Answer:

Note: The tone given was E. To answer this question, you
would have to enter into the key of E major, since E is
scale tone #1 of E major. That would give you the E major
chord in first inversion as the answer.

91
Question #16
key
of E
Answer:

92
Question #17
key
of A
Answer:

93
Question #18
key
of D
♭
Answer:

94
Question #19
key
of G
♭
Answer:

95
Question #20
key
of B
Answer:

96
Question #21
key
of D
Answer:

97
Question #22
key
of B
♭
Answer:

98
Question #23
key
of E
♭
Answer:

99
Question #24
key
of C
Answer:

100
Question #25
key
of F
Answer:

101
Question #26
key
of A
♭
Answer:

102
Question #27
key
of E
Answer:

103
Question #28
key
of G
Answer:

104
Question #29
key
of B
Answer:

105
Question #30
key
of D
Answer:

106
Question #31
key
of F
Answer:

107
Question #32
key
of B
♭
Answer:

108
Question #33
key
of D
♭
Answer:

109
Question #34
key
of A
Answer:

110
Question #35
key
of C
Answer:

111
HARMONIZE THE
STABLE TONES
IN THE KEY OF THE
GIVEN NOTE.
Question:
Harmonize the stable tones of the C major
scale.
Clue:
The stable tones in a key are the first, third and fifth
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
112
Question #36
Question:
Harmonize the stable tones of the
D major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5
Tone
113

Question #37
Question:
B
♭
major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone
114
th
5 Tone
115
Question #38
Question:
E
♭
major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
116

117
Question #39
Question:
C major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
118

119
Question #40
Question:
F major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
120

121
Question #41
Question:
A
♭
major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
122

123
Question #42
Question:
E major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
124

125
Question #43
Question:
G major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
126

127
Question #44
Question:
B major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
128

129
Question #45
Question:
D major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
130

131
Question #46
Question:
F major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
132

133
Question #47
Question:
B
♭
major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
134

Question #48
Question:
D
♭
major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone
135
th
5 Tone
136
Question #49
Question:
A major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
137

138
Question #50
Question:
C major
scale
.
Clue:
tones.
Answer:
1st Tone

rd
3 Tone

th
5 Tone
139

140

Basic
Harmonization

ALL KEYS USING
THREE
CHORDS
WorkBook

Answers

141

ANSWERS
TO QUESTIONS
1 15

142
Answer #1
C major triad
can harmonize the following notes:

143
Answer #2
A major triad

144
Answer #3
D major triad
♭ can harmonize the following notes:
145
Answer #4
major triad
B♭ can harmonize the following notes:

146
Answer #5
F major triad
147
Answer #6
D major triad
148
Answer #7
B major triad

149
Answer #8
G major triad

150
Answer #9
E major triad

151
Answer #10
A
♭ major triad can harmonize the following notes:
152
Answer #11
F major triad
153
Answer #12
C major triad

154
Answer #13
E major triad

155
Answer #14
B major triad

156
Answer #15
D major triad

157

ANSWERS
TO QUESTIONS
16 – 35

158
Answer #16
Here’s the CORRECT answer to the harmonization
of E
as tone #1 in the key of E major.

Answer #17
of A
as tone #1 in the key of A major.

159
Answer #18
of D
♭ as tone #1 in the key of D major.
♭
Answer #19
of G
♭ as tone #1 in the key of G major.
♭

160
Answer #20
of A
♭ as tone #1 in the key of A major.
♭

Answer #21
of D
as tone #1 in the key of D major.

161
Answer #22
of B
♭ as tone #1 in the key of B major.
♭
Answer #23
of E
♭ as tone #1 in the key of E major.
♭

162
Answer #24
of C
as tone #1 in the key of C major.
Answer #25
of F
as tone #1 in the key of F major.

163
Answer #26
of A
♭ as tone #1 in the key of A major.
♭

Answer #27
of E
as tone #1 in the key of E major.

164
Answer #28
of G
as tone #1 in the key of G major.
Answer #29
of B
as tone #1 in the key of B major.

165
Answer #30
of D
as tone #1 in the key of D major.

Answer #31
of F
as tone #1 in the key of F major.
166
Answer #32
of B
♭ as tone #1 in the key of B major.
♭

Answer #33
of D
♭ as tone #1 in the key of D major.
♭

167
Answer #34
of A
as tone #1 in the key of A major.
Answer #35
of C
as tone #1 in the key of C major.

168

ANSWERS
TO QUESTIONS
36 – 50

169
Answer #36
Harmonization of the stable tones of the
D major
scale
:
1st Tone

rd
3 Tone

th
5 Tone

170
Answer #37
B
♭
major scale:
st
1 tone

rd
3 tone

th
5 tone

171
Answer #38
E
♭
major scale:
st
1 tone

rd
3 tone

th
5 tone
Answer #39
172
C major
scale
:
1st Tone

rd
3 Tone

th
5
Tone

Answer #40
st
1 tone
173

rd
3 tone

th
5 tone

174
Answer #41
A
♭
major scale:
st
1 tone

rd
3 tone

th
5 tone

175
Answer #42
E major
scale
:
st
1 tone

rd
3 tone

th
5 tone

176
Answer #43
G major
scale
:
st
1 tone

rd
3 tone

th
5 tone

177
Answer #44
B major
scale
:
st
1 tone

rd
3 tone

th
5 tone

178
Answer #45
D major
scale
:
1st Tone

rd
3 Tone

th
5 Tone

179
Answer #46
F major
scale
:
st
1 tone

rd
3 tone

th
5 tone
Answer #47
180
B
♭
major scale:
st
1 tone

rd
3 tone

th
5
tone
181
Answer #48
D
♭
major scale:
st
1 Tone

rd
3 Tone

th
5 Tone
182
Answer #49
A major
scale
:
st
1 tone

rd
3 tone

th
5 tone
Answer #50
183
C major
scale
:
1st Tone

rd
3 Tone

th
5
Tone

184

Basic Harmonization: Jermaine Griggs & Chuku Onyemachi

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