A harmonization should include chords that underscore the design of the melody. For example, the tonal design of the melody is supported through the repeated use of V-I progressions. Cadences provide musical punctuation and are strategic places to reinforce the key. This punctuation can be strengthened by closing on stable chords and using standard cadential progressions. The rhythmic outline of a melody can help one decide how to control harmonic rhythm.

Discover clues about the design of the melody through analysis. Analysis will help one find patterns of pitch and rhythm in the background of a melody. These discoveries can indicate which chord to use and when to use it.

Many melodies can be harmonized with only primary triads, especially simple folk melodies that feature strong tonal focus. Sometimes the simple clarity of primary triads is the best solution.

1. Planning
   • Simplify the melody to reveal background pitch and rhythm patterns.
   • Look for intervals or triads outlined in the melody.
   • Look for patterns that focus on the tonic pitch.
2. Sketching
   • Select chords implied by outline patterns.
   • Select chords that support tonicity.
   • Design a harmonic rhythm that supports the melody's rhythmic background.
   • Harmonize cadences with the standard progressions (V-I, IV-I,"x"-V, and so on).
3. Testing
   • Use a chording instrument like a piano or a guitar to test your setting.
   • Change chord choices and harmonic rhythms if needed. Retest until satisfied.
4. Polish
   • Use inversions to add melodic interest to the bass line.
   • Use root position to enhance harmonic focus.
   • Make changes to improve the independence between the melody and the bass lines.
5. To add variety
   • Reinforce any variety procedures built into the melody (series-of-fifths, harmonic sequence, substitution, non-tonic focus).
   • Reinforce contrasts in the phrase plan of a melody. For example, the "b" or "bridge" phrase of a melody is usually conceived as a contrast phrase with a built-in variety procedure.
   • Rough in chords to reinforce tonal focus, especially at the beginning and end of the melody and at cadences. This rough sketch will also establish a basic harmonic rhythm. Consider the use of variation devices in the middle of phrases or in the middle of the melody.
   • Look for opportunities to use variation devices but do not lose sight of simplicity's value.
   • Remember that fifth relations tonicize, third relations provide color change and can link fifth relations via successive substitutions, and second relations provide melodic thrust, occasional color change, and are good harmonic satellites.
   • Experiment with some alternative choices. You may make new discoveries that will prompt you to replace some of your first choices. Do not lose sight in the overall need for tonal focus. Variation can be overused, weakening both the effects of variety and the listener's sense of structure.