i made a track in the theory/reference section over in lessons. check it out if you want to hear it :)

You could also just put emphasis over the strong times to harmonize, and put the other notes as chromatic aproaches to them.

For example, you play the root of your first chord, which will be minor (say A minor on a C major scale) and then you make a double chromatic approach to the minor third.

Then a Chromatic approach to the root of the next chord (would be D minor) and again a double chromatic approach to its minor third.

Then you go on to the root of the next chord with chromatic approach (G7).

Now you just have to go to your central tone chord (C major), again, you do it chromatically, maybe stopping on B to emphasize the tension and resolution of the progression.

So, the progression would be the old:

ii-vi-V7-I

Hope you like it :)

Enrique

P.D. I would go with the same idea for the backwards chromatic.

Sorry, the progression is:

vi-ii-V7-I

:P

that's an entirely different topic altogether :( I harmonized a bass line, you are suggesting bass notes for pre-existing chords.

I think I did not make myself clear then:

You are going to play:

A, A#, B, C

Which played over an Am chord, would be the root and a double chromatic approach to the minor third, and then the minor third.

You play the A on the first beat and the C on the third beat if you're playing 4/4.

Then you play:

C#

Which is a chromatioc approach to the root of the Dm chord.

You play this anywhere after the third beat.

Then you play:

D, D#, E, F

Which played over an Dm chord, would be the root and a double chromatic approach to the minor third, and then the minor third.

Again, the D on the first beat, the F on the third.

Then you play:

F#

Anywhere after the third beat.

Which is a chromatioc approach to the root of the G7 chord.

Then you play:

G, G#, A, A#, B

The G on the first beat, the B on the third.

Which are again root and approaches to the major third.

Then you resolve going to :

C

The C obviously on the first beat.

Is the bassline not going up a chromatic scale?.

Does it not fit over the chord progression I'm suggesting?. I'm telling you why and how it works.

Why do you say it is not harmonizing?.

Enrique

P.D. Maybe you meant:

Harmonize a bassline which is playing on the first beat only, and then only the notes of the chromatic scale, in order.

yeah, that is a "walking" bass line. refer to my previous post.

I quote myself:

"Maybe you meant:

Harmonize a bassline which is playing on the first beat only, and then only the notes of the chromatic scale, in order."

Is that what you meant?. Otherwise I don't see a problem with it being a walking bassline.

I just don't get you :S

yep. 1 chord per bass note.

Got you. Then yes, that was useless :P.

|: D
A/C# .... (A C# E) .... (M3)
D7/C .... (D,F#,A,C).... (m7)
G/B ..... (G,B,D) .... (M3)
EMI7(b5)/Bb .. (E,G,Bb,D).... (b5)
D/A ..... (D,F#,A).... ( 5)
E7/G# ... (E,G#,B,D) .... (M3)
A7/G .... (A,C#,E,G) .... (m7)
D/F# .... (D,F#,A) .... (M3)
G#dim7/F ..(G#,B,D,F) .... (bb7)
A/E ..... (A,C#,E) .... ( 5)

??
Eb7 D :| (Eb,G,Bb,Db)
??
Did you mean Db for the bass note?


Eb7/Db ... (Eb,G,Bb,Db) .... (m7)

#########
|: D A/C# D7/C G/B EMI7(b5)/Bb D/A E7/G# A7/G D/F# G#dim7/F A/E Eb7 D :|

Is what I wrote what your line means?

Thanks Wayne

you got it :)

no, the last chord is a D major chord. the Eb7 is in root position.

how about chromatically ascending?
.........



D
B7/D#
C#m7/E
C7sus4/F
B/F#
Em/G
A#7/G#
B7/A
D#m7/A#
E/B
F7/C
D#7 /C#
D

"This is my story, ...
and I'm sticking with it"
lol

wicked :)

Are those correct possibilities?

depends on the perspective you want to take. in 21st century terms, that is really cool! I just banged it out on my piano, sounds great :)

D--->B7/D#: I to V/ii very jazzy
B7/D#-->C#MI7/E: Deceptive cadence in E major?
C#MI7-->Csus4/F: VI to augmented 6th chord? not sure about the sus4
C7sus4/F-->B/F#: +6 to V in E minor?
B/F#--->EMI/G: V to i in E minor
A#7/G#-->B7/A: cool, but an A#mi7(b5) would work to
B7/A--->D#mi7/A#: just is what is :) one of those unexplainable changes that just sounds good!
D#mi7/A#--->E/B: again, just cool
E/B--->F7/C: looks like a V to +6 in A minor
F7---->D#7: V to IV in Bb Blues!!
D#7 to D: bII7 to I, i like it. like a dominant neapolitan