could we harmonize the" chromatic scale"?

Answer 1

The problematic flat 7 (or sharp 6 as one responder puts it) actually has a very common solution, used a lot by Elmer Bernstein and subsequntly by many film composeres ever since: bVII - V7 - I -- in the key of C then BbM - G7 - C. Of course you have to be careful of the voice leading from the previous vi chord, since the roots are a step apart.

The real fun starts when you decide you don't want to use all those secondary dominants -- to avoid the implied two-chord V-i phrasing, (which could get monotonous). Create some color with minor 7ths, half diminished 7ths, diminshed 7ths, 9th and 13 chords of varying qualites.

Answer 2

Yeah, the above answer is the easiest way to do it -- with all the applied chords. The raised scale-degree 6 is problematic with this approach, because you can't really tonicize the triad you build on scale-degree 7 (it's diminished, and therefore can't be tonicized). I don't know a real good way around this...I used to have to play this progression (in any key) in piano lessons, and we always went from vi-V6/5-I...which basically is just a "punt" when you get to the problematic #6.

If you think of using the (ascending) chromatic scale in the bass, then the progression becomes this:
I - V65/ii - ii V65/iii - iii - V65/IV (same bass note as iii) - IV, etc etc

Also, keeping with the applied chord idea, instead of using V(65)/x, make them viio7/x chords.

This stuff is all over 18th century theory treatises. Much like the "Rule of the Octave," having a pattern like this at your fingertips makes realizing UNfigured bass parts much easier. Check out Mattheson, Campion, Rameau, and even CPE Bach -- they all have harmonizations of diatonic scales, and I wouldn't be surprised if they had chromatic scales too.

Another fun way to harmonize the chromatic scale is by using the omnibus progression.
With the bass line C-C#-D-D#-E-F-F#-G-G#-A-A#-B-C, you can put these chords above:
C7 - Eb4/2 - gm6/4 - Eb7 - F#4/2 - b-flat minor6/4 - F#7 - A4/2 - c#m6/4 - A7 - C4/2 - em6/4 - C7

Not really a "functional" progression, but it works, and is pretty commonly used in the 19th century. (and, oddly enough, introductions of some Sousa marches...)

Happy harmonizing!

Answer 3

Sure. Here goes:

I V/ii ii V/iii iii (to V/IV) IV. V/V V V/vi vi (this is the wild card - dominant of the 7th note) - then V I.

So - that wild spot - you have lots of coloristic possibilities, beyond the double dominant that I have hit you over the head with all the way up the chain. I'll let YOU fool around with that one - can't do ALL of your homework for you.

Throughout music history, people have harmonized MANY things that were meant to be unaccompanied. The Bach unaccompanied works all have *ghosts* written for them - it was a common exercise in a previous century. I have accompaniments for flute etudes, to many them a little more palatable.

Now that I have read other answers - you do not have to worry about a diminished chord on the 7th step - take it as 3 in the v7 chord - just get home! And the Bbm lead-in to the V7 on the 7th step - well, that's the old *deceptive substitute for the Neapolitan* (subdominant function), isn't it? The original poster sounded like they needed quick and clean - now we have hijacked the conversation into our own Theory Geek Meet.

Answer 4

Yes. but don't try to harmonize every note. Let many of them be passing tones.