Harmonizing Guitar Lesson

Chapter 1: (00:34) Welcome to Lesson 3 – Harmonizing Dennis kicks off lesson 3 by playing some harmonized lines along with a backing track. In this lesson, Dennis provides you with the music theory knowledge necessary to creating a harmonized guitar melody or riff.
Chapter 2: (03:34) What Is Harmonizing? A harmonized melody line occurs when two different melodic lines are performed simultaneously.

Diatonic Harmonization

The most common way to harmonize a melody is by applying a specific diatonic interval above the initial melody line. Melodies are most commonly harmonized in diatonic thirds, sixths, or fourths. The word "diatonic" means that only notes within a specific seven note scale are utilized without any chromatic alterations.

Harmonization in G Major

It is always easiest to analyze the interval relationships within a diatonic scale when it is performed across a single string. Using this method, a specific interval distance can be measured in a specific number of frets without having to switch to a different string.

Dennis uses the G major scale played across the fourth string as an example. To perform this scale, you must remember the whole and half step pattern for the major scale that was explained in the first lesson of this series. Simply begin with the root note, G. Then, follow the pattern of whole and half steps until the note G is reached again one octave higher.

Watch and listen as Dennis plays through a brief melodic phrase utilizing this horizontal scale. This phrase consists of the notes G, A, B, and F#. Dennis chooses to harmonize this segment in diatonic thirds.

In order to harmonize this melody in thirds, you must find the note that is a diatonic third above each melody note. Examine the spelling of the G major scale listed below.

G Major Scale: G, A, B, C, D, E, F#, G.

To find the diatonic third above any note in the scale, skip over the next note that occurs in the scale. The following note is a diatonic third above the initial note. Study the list of diatonic thirds listed below.

G – diatonic third above=B
A – diatonic third above=C
B – diatonic third above=D
C – diatonic third above=E
D – diatonic third above=F#
E – diatonic third above=G
F# – diatonic third above=A

Since the melody line consists of the notes G, A, B, and F#, the subsequent harmony notes used are B, C, D, and A. Locate these notes on the fourth string.

Typically, a melody line and its subsequent harmony line are played by two guitarists at the same time. However, it is possible to play a harmonized melody by yourself. When performing a harmonized line, the initial melody and the harmony must be played on separate strings. It is not possible to play two notes simultaneously on the same string. Chapter 3: (02:54) 3rds and Major Scale Examples In this scene, Dennis explains how to harmonize an entire melodic phrase in the key of G major.

First, learn and memorize the initial phrase that Dennis plays in the lesson video. Tablature and notation to this phrase can be found under the "Supplemental Content" tab. Then, list out all of the notes used in the melody. Using the rules listed under the previous scene, find the note that is a diatonic third above each melody note. These notes will comprise the subsequent harmony line.

Playing the Harmony Line

Identify the location of each harmony note on the fourth string. The harmony line must be played in the exact same rhythm as the initial melody line. Using a piece of staff or tablature paper, write out the harmony line in the appropriate rhythm. It is always easiest to learn and perform a harmony line when it is written out on paper. While Dennis plays the melody line in the lesson video, play the harmony part along with him.

In addition to matching the rhythm of the initial melody, the harmony line must also feature the same articulation. For example, if the guitarist playing the melody plays a slide, hammer-on, pull-off, bend, etc., the harmony line must also utilize these same techniques. This will create the illusion that both lines are being performed by a single guitarist. In addition, an overall tighter sound will result.

If you wish to play the melody and the harmony line by yourself, locate each harmony note on the third string. Determine the most practical way to simultaneously fret each melody note and its subsequent harmony note. Then, begin to practice both parts together on the third and fourth strings.

Note: Tablature and notation to the initial melodic phrase and subsequent harmony line can be found under the "Supplemental Content" tab. Chapter 4: (03:17) 3rds and Minor Scale Examples When harmonizing a melody in the minor tonality, follow the same procedure that you learned for major keys.

Identify and spell the minor scale that is used. In this scene, Dennis uses the E natural minor scale as an example. The spelling of this scale is listed below.

E Natural Minor: E, F#, G, A, B, C, D, E.

To find the diatonic third above any note in the scale, skip over the next note that occurs in the scale. The following note is a diatonic third above the initial note. Study the list of diatonic thirds listed below.

E – diatonic third above=G
F# – diatonic third above=A
G – diatonic third above=B
A – diatonic third above=C
B – diatonic third above=D
C – diatonic third above=E
D – diatonic third above=F#

Creating the Harmony Line

Study the E minor melody listed in the "Supplemental Content" section. This entire a melody is performed on the third string. Using the notation provided above the tablature, identify each individual note in the melody. Then, determine the note that is a diatonic third above each melody note. Identify where these notes are played on the third string. Using a piece of staff or tablature paper, write out the harmony line. Apply the same articulation and rhythm used in the initial melody line to the harmony line. Now you are ready to practice the harmony line.

If you wish to play the melody and harmony lines by yourself, figure out how to play the harmony line on the second string. The articulation of the line might need to be adjusted in order to play both parts simultaneously. Chapter 5: (02:50) Dennis Teaches Diatonic Fourths In order to harmonize a melody in diatonic fourths, you must find the note that is a diatonic fourth above each melody note. In this scene, all musical examples are played within the A natural minor scale. Examine the spelling of the A natural minor scale listed below.

A Natural Minor: A, B, C, D, E, F, G.

To find the diatonic fourth above any note in the scale, skip over the next two notes that occur in the scale. Study the list of diatonic fourths listed below.

A – diatonic fourth above=D
B – diatonic fourth above=E
C – diatonic fourth above=F
D – diatonic fourth above=F
E – diatonic fourth above=A
F – diatonic fourth above=B
G – diatonic fourth above=C

Types of Diatonic Fourths

There are two types of diatonic fourths within the natural minor scale – perfect fourths and augmented fourths. Occasionally, the augmented fourth is referred to as the "tritone" interval. This interval produces a very dissonant, unstable sound.

A perfect fourth is located five frets above any starting pitch. For example, the notes A and D are a perfect fourth apart. An augmented fourth is located six frets above any starting pitch. B and F are an augmented fourth apart.

Perfect Fourths on Adjacent Strings

Perfect fourths are located at the same fret on all adjacent string pairs with the exception of the G and B strings. On these strings, perfect fourths are one fret apart.

Creating the Harmony Line

Unlike the melodies presented in previous scenes, this melody is not played on a single string. Study the A minor melody listed in the "Supplemental Content" section. Using the notation provided above the tablature, identify each individual note in the melody. Then, determine the note that is a diatonic fourth above each melody note. Identify where these notes can be played on the fretboard. There are several possible ways to finger these notes. Using a piece of staff or tablature paper, write out the harmony line. Notice which type of diatonic fourth occurs between each melody and harmony note. Apply the same articulation and rhythm used in the initial melody line to the harmony line. Now you are ready to practice the harmony line. Chapter 6: (01:21) Perfect 4ths Dennis demonstrates how the melody from the previous scene can be harmonized using only perfect fourths. On beat three, the note F is played in the melody. The note B is a diatonic fourth above. An augmented fourth occurs between these two notes. When harmonizing the melody solely with perfect fourths, this B note must be flattened so that the interval between the melody and harmony becomes a perfect fourth. This harmonization is no longer diatonic since the note Bb is not part of the A natural minor scale.

Compare the sound of this harmonization to the harmonization demonstrated in the previous scene. How would you describe the difference between these two examples?
Chapter 7: (02:06) Non-Diatonic 4ths In this scene, Dennis demonstrates how an atonal riff or melody can be harmonized. The riff harmonized in this scene is highly chromatic. It does not follow any particular scale. Music follows no particular scale or traditional harmonic relationships is said to be "atonal."

The rules of harmonization for atonal riffs and melodies differ slightly from those within a diatonic setting. Typically, atonal riffs are harmonized with a single interval. Dennis has chosen to harmonize this particular riff in perfect fourths. Many metal bands such as Slayer and Metallica commonly harmonize atonal and diatonic riffs using this interval. Harmonizing a riff in perfect fourths creates a thick, heavy sound.

Creating the Harmony Line

Once again, the harmony line must follow the same rhythm and articulation of the initial riff. Identify the note located a perfect fourth above each note in the riff. Since the riff is played on the bass strings, each harmony note is located on the next highest string at the same fretboard position. Write out the subsequent harmony line on a piece of staff paper. Check your work with the harmony line Dennis has listed in the "Supplemental Content" section. Chapter 8: (02:57) Harmonizing Using Perfect Fifths In addition to perfect fourths, perfect fifths are often used to harmonize diatonic and atonal melody lines. When the perfect fifth interval is added to each melody note, a series of root / five power chords is produced. The resulting sound is often described as "spacey" or other-worldly. A few Smashing Pumpkins songs feature melodic lines harmonized in fifths.

Harmonizing the Melody

The melody harmonized in this scene utilizes the diatonic D major scale. This melody is listed under the "Supplemental Content" tab. Identify the note located a perfect fifth above each melody note. Then, use these notes to write out the harmonization of the melody. Dennis has chosen to play the harmony part on the same strings sets as the melody to maintain tonal consistency between both parts. Remember to use the same rhythm and articulation when writing out the harmony line. Some light palm muting is applied to all of the notes in the first measure with the exception of the note that occurs on beat 2.
Chapter 9: (02:58) Non-Diatonic Fifths and Parallel Fifths The melody harmonized in the previous scene was derived from a diatonic scale. This time around, Dennis demonstrates how a non-diatonic melody or riff can be harmonized in perfect fifths. The melody harmonized in this scene features an arpeggiation of .root / five add nine power chord shapes. These voicings are created by stacking two power chords on top of one another. "Every Breath You Take" by the Police and "Floods" by Pantera are a few popular songs that feature these chord types.

The riff that Dennis harmonizes in fifths is reminiscent of the song "Painkiller." This song is the final cut from Death's The Sound of Perseverance. The initial riff is simply shifted seven frets up the fretboard to create the harmony line. Remember that a perfect fifth interval can be found seven frets up from any give starting pitch.
Chapter 10: (02:52) 6ths A sixth interval is created by inverting a third interval. In scene 2, you learned how to find the note located a diatonic third above each note in the G major scale. A quick review of these notes is listed below.

G – diatonic third above=B
A – diatonic third above=C
B – diatonic third above=D
C – diatonic third above=E
D – diatonic third above=F#
E – diatonic third above=G
F# – diatonic third above=A

If the order of the two notes in each pairing is flipped, diatonic sixths are produced.

B – diatonic sixth above=G
C – diatonic sixth above=A
D – diatonic sixth above=B
E – diatonic sixth above=C
F# – diatonic sixth above=D
G – diatonic sixth above=E
A – diatonic sixth above=F#

Types of Sixth Intervals

There are two types of sixth intervals – minor and major. A minor sixth can be found eight frets above any starting pitch. A major sixth is located 9 frets above any starting pitch.

Harmonizing in Sixths

Dennis uses the material from the third scene to demonstrate how a melody can be harmonized in diatonic sixths. This time around, he uses the harmony line from scene 3 as the melody line. Then, he harmonizes this line in diatonic sixths. Notice how the line that was the melody in scene 3 now becomes the harmony line. Chapter 11: (01:31) Wrap-Up Harmonization of a melody or riff can be used in a wide variety of genres to create an exciting new sound. Countless Beatles songs feature harmonized guitar lines. "Whiskey in the Jar" by Thin Lizzy and "Jessica" by the Allman Brothers feature harmonized melody lines in the classic rock genre. Listen to bands such as Iron Maiden, Cradle of Filth, and Metallica for some fine examples of harmonization in the metal genre. Apply the concepts that you have learned in this lesson when composing your own music. Do not be afraid to experiment and explore new sounds!

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