Harmonisation Techniques

Every harmony begins with the tonic. In solfa, d r m f s l t d' is the major scale. The three primary chords come from degrees I (d-m-s), IV (f-l-d'), and V (s-t-r'). Most worship songs can be harmonised using just these three chords.

The melody usually sits in the Soprano. For each Soprano note, ask: "Which chord (I, IV, or V) contains this note?" Then assign the other chord tones to A, T, B.

• Alto → typically a 3rd or 6th below Soprano.
• Tenor → middle voice, fills the chord, often a 5th below Alto.
• Bass → root of the chord, lower octave (e.g. d, s,).

The golden rule: each voice should move by the smallest possible interval. Avoid jumps larger than a 5th unless the music calls for it. Never let two voices cross (Alto must not go above Soprano).

Avoid parallel 5ths and parallel octaves between any two voices — they weaken the harmony.

• Perfect (V → I): strong, conclusive. Use at the end of a verse.
• Plagal (IV → I): the "Amen" cadence — warm and devotional.
• Imperfect (I → V): leaves the phrase hanging, expecting more.
• Interrupted (V → vi): surprise — useful before a final chorus.

Beyond I, IV, V, use ii (r-f-l), vi (l-d'-m'), and iii (m-s-t) for richer colour. The progression I – vi – IV – V is a classic Cameroonian gospel sound.

• Open the chorus with all four voices entering together for impact.
• Use call-and-response: Soprano sings a line, ATB answer in harmony.
• For Makossa / Bikutsi-flavoured worship, syncopate the Bass with eighth-note patterns.
• End the song with a sustained "Amen" using a plagal cadence (IV → I) held with a fermata 𝄐.

Mark your sheet with p (soft), mf (medium loud), f (loud), cresc. (growing), and rit. (slowing). A song without dynamics is like speech without emotion.

1. Sing the melody alone in solfa until it is solid.
2. Add Bass (root notes only) — sing S + B together.
3. Layer Alto, then Tenor, one voice at a time.
4. Finally, rehearse all four voices slowly, then up to tempo.