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In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". [ 2 ] A harmonized 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.
Fauxbourdon (also fauxbordon, and also commonly two words: faux bourdon or faulx bourdon, and in Italian falso bordone) – French for false drone – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School.
For example, the harmonization of a descending scale with the strict alternation of 1-5-8-10 and 1-3-5-8 voicings generates the traditional voice leading of the descending thirds sequence that famously forms the basis of Johann Pachelbel's Canon in D; this sequence can be seen in the hypothetical falsobordone example provided above (in the ...
Harmonization of regulatory standards is seen by economists as a key component in reducing trade costs and increasing interstate trade. [9] Where importing-market standards are harmonized with international standards, such as those from ISO or IEC, the negative effect on developing-country exporters is substantially lessened, or even reversed. [10]
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
Harmonization, in music, the implementation of harmony, usually by using chords, including harmonized scales Harmonize (singer) , (born 1994), a Tanzanian musician Last verse harmonisation , a technique of hymn accompaniment used by church organists
A notable example is David Willcocks' harmonisation of the seventh verse of the famous hymn tune "Adeste Fideles". This opens with the organ playing the melody in unison at three pitches (each an octave apart; the lowest played on the pedalboard), which is another popular technique of last verse harmonisation.
Philip Barford describes the Arietta of Op. 111 as "simplicity itself… its widely-spaced harmonization creates a mood of almost mystical intensity. In this exquisite harmonization the notes do not make their own track – the way we play them depends upon the way we catch the inner vibration of the thought between the notes, and this will ...