{"id":31131,"date":"2026-04-07T15:37:00","date_gmt":"2026-04-07T19:37:00","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=31131"},"modified":"2026-04-07T15:37:14","modified_gmt":"2026-04-07T19:37:14","slug":"how-to-create-vocal-harmonies","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/how-to-create-vocal-harmonies\/","title":{"rendered":"How to create vocal harmonies: A step-by-step guide"},"content":{"rendered":"\n<p style=\"font-size:15px\" class=\"has-text-align-center\"><strong>Illustration:<\/strong> <a href=\"https:\/\/www.filipfroehlich.de\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\"><strong>Filip Fr\u00f6hlich<\/strong><\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">What stands out the most to you when you\u2019re listening to a song?<\/h2>\n\n\n\n<p>For the average listener, it might be the melody, lyrics, production, or how it makes them feel\u2014most people\u2019s answer probably wouldn\u2019t include vocal harmonies. We don\u2019t typically pay much attention to them, but the truth is, we would certainly miss them if they weren\u2019t there.<\/p>\n\n\n\n<p>Vocal harmonies can make or break a song. They have the power to take it from an amateur-sounding bedroom recording to a radio-ready hit. They help create captivating live shows and breathe life into songs performed by choirs and acapella groups.<\/p>\n\n\n\n<p>Despite their crucial role in music, it\u2019s common for singers to treat them as an afterthought\u2014something they throw in hastily at the last minute.<\/p>\n\n\n\n<p>If you\u2019re a vocalist, recording artist, or producer who works with musicians, take the time to master vocal harmonies. Use them with intention and take full advantage of what they can add to your music. You\u2019ll almost immediately see a noticeable difference in the overall quality of your songs and performances.<\/p>\n\n\n\n<p>If you don\u2019t know how to find vocal harmonies or can\u2019t do it reliably for any song, then this guide is for you. In this article, we break the process down and show you step-by-step how to write harmonies and how to choose notes that sound great together.<\/p>\n\n\n\n<p>Feel free to use the table of contents below to quickly navigate to a specific section.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">What you&#8217;ll learn:<\/h3>\n\n\n\n<ul>\n<li><a href=\"#WhatIsVocalHarmony\"><strong>What are vocal harmonies?<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#MusicTheory\"><strong>The music theory behind vocal harmonies<\/strong><\/a>\n<ul>\n<li><a href=\"#KeysScales\"><strong>Keys and scales<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#Intervals\"><strong>Intervals<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#Chords\"><strong>Chords<\/strong><\/a><\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><a href=\"#ChordsMelodies\"><strong>Understanding chords and melodies<\/strong><\/a>\n<ul>\n<li><a href=\"#RoleOfChords\"><strong>The role of chords in finding vocal harmonies<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#ComplementMelody\"><strong>Finding vocal harmonies that complement the melody<\/strong><\/a><\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><a href=\"#CreateVocalHarmonies\"><strong>How to create vocal harmonies<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#Example\"><strong>How to harmonize: Follow along with an example<\/strong><\/a>\n<ul>\n<li><a href=\"#AnchorNotes\"><strong>Finding anchor notes and outlining filler notes<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#SmoothingTransitions\"><strong>Navigating jumps and smoothing transitions<\/strong><\/a><\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><a href=\"#OtherTypes\"><strong>Other types of vocal harmonies<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#TrustEar\"><strong>Trust your ear<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#Practice\"><strong>How to practice vocal harmonies<\/strong><\/a><\/li>\n<\/ul>\n\n\n\n<p>Ready to take your songs to the next level? Let\u2019s start harmonizing!<\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-background has-link-color wp-elements-c3706cc98d779b0d6fb864120a14adaa\" style=\"background-color:#62daff\"><strong>Voice to verse\u2014anywhere. With the addition of Splice Mic, you can instantly test and record ideas, explore genres, and unlock new creative possibilities, all from <\/strong><a href=\"https:\/\/splice.onelink.me\/vNNn\/sozstw8b\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>the Splice mobile app.<\/strong><\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"WhatIsVocalHarmony\">What are vocal harmonies?<\/h2>\n\n\n\n<p><strong>Vocal harmonies<\/strong> are any vocal lines sung simultaneously with <a href=\"https:\/\/splice.com\/blog\/an-introduction-to-melody\/\" target=\"_blank\" rel=\"noreferrer noopener\">the melody<\/a>\u2014singing in harmony means adding a complementary part that supports the lead without doubling it exactly. They follow the same rhythm and fit over the same chords, but their notes are different.<\/p>\n\n\n\n<p>While a song can only have one main vocal melody, it can have any number of harmonies. They help add weight and texture to the vocal and reinforce the underlying chords. They\u2019re often used to highlight important parts of the song, add depth and movement, or create a sense of tension and release.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"MusicTheory\">The music theory behind vocal harmonies<\/h2>\n\n\n\n<p>Coming up with vocal harmonies is both a science and an art\u2014it requires knowing a bit of <a href=\"https:\/\/splice.com\/blog\/category\/tips-tutorials\/music-theory\/\" target=\"_blank\" rel=\"noreferrer noopener\">music theory,<\/a> but also relying on your ear. We\u2019ll be just scratching the surface here, but to help make sense of the theory part, let\u2019s go over a few basics.<\/p>\n\n\n\n<p>And if you\u2019re already familiar with scales, intervals, and chords, feel free to skip this section.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"KeysScales\">Keys and scales<\/h3>\n\n\n\n<p>When <a href=\"https:\/\/splice.com\/blog\/how-to-make-music\/\" target=\"_blank\" rel=\"noreferrer noopener\">making music,<\/a> we have 12 pitches available to us. We don\u2019t typically use all 12 in a single song, though, because without intention, that would have no harmonic structure and sound too messy. Instead, we choose a set of seven pitches and, for the most part, center each song around it. This set is called a <strong>key.<\/strong><\/p>\n\n\n\n<p>When we line up the seven pitches of any given key in an ascending or descending order, we make a scale. One of the easiest keys to understand is C major. Its scale consists of all white keys on the piano: C, D, E, F, G, A, and B.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Intervals\">Intervals<\/h3>\n\n\n\n<p><strong>Intervals<\/strong> measure the distance between any two notes, and they&#8217;re the building blocks of scales, chords, and melodies. We talk about smaller intervals in terms of <strong>half steps<\/strong> (semitones) and <strong>whole steps,<\/strong> but for larger intervals, it\u2019s easier to measure them based on the notes in the scale. Let\u2019s keep using the C major scale as an example.<\/p>\n\n\n\n<p>Going from C to E takes us three notes\u2014C, D, E\u2014so we call that interval a <strong>third.<\/strong> The distance between C and G would be called a <strong>fifth.<\/strong> Going from C to the next C takes eight scale notes, so we call that an <strong>octave.<\/strong><\/p>\n\n\n\n<p>There\u2019s a lot more to learn about intervals, but for now, all we need to know is that, when it comes to playing two notes at the same time, certain intervals sound more consonant than others. For example, thirds and fifths sound naturally pleasing to the ear, while a second interval often sounds a bit more dissonant or tense.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"Chords\">Chords<\/h3>\n\n\n\n<p>Speaking of third and fifth intervals, that\u2019s exactly how most chords are built. For example, the notes C-E-G in the C major scale make the C major chord. The notes F-A-C make the F major chord. You can use this as a starting point and make adjustments to create more complex chords and <a href=\"https:\/\/splice.com\/blog\/add-color-with-chord-extensions\/\" target=\"_blank\" rel=\"noreferrer noopener\">chord extensions.<\/a><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-blog-splice wp-block-embed-blog-splice\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"8bQB0kplaD\"><a href=\"https:\/\/splice.com\/blog\/an-introduction-to-melody\/\">What is melody in music? A guide to pitch, scales, and keys<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;What is melody in music? A guide to pitch, scales, and keys&#8221; &#8212; Blog | Splice\" src=\"https:\/\/splice.com\/blog\/an-introduction-to-melody\/embed\/#?secret=RIwWIm9deP#?secret=8bQB0kplaD\" data-secret=\"8bQB0kplaD\" width=\"370\" height=\"209\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">We go over keys, scales, and intervals in more depth in the guide above<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"ChordsMelodies\">Understanding chords and melodies<\/h2>\n\n\n\n<p>Great vocal harmonies do two things: they reinforce the chords and complement the melody. Let\u2019s take a look at why both are important and how to find the right balance between the two.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"RoleOfChords\">The role of chords in finding vocal harmonies<\/h3>\n\n\n\n<p>By definition, <a href=\"https:\/\/splice.com\/blog\/an-introduction-to-harmony\/\" target=\"_blank\" rel=\"noreferrer noopener\">harmony in music<\/a> happens whenever two or more notes are played at the same time. If you\u2019re accompanied by an instrument or a track, there&#8217;s already harmony happening in the chords. Any new harmony you introduce needs to match that.<\/p>\n\n\n\n<p>That\u2019s why, when coming up with a harmony, the first thing you need to do is look at the chord being played at that moment in the song.<\/p>\n\n\n\n<p>Of course, this is a rule you can sometimes break, but only if you have the freedom to change the chords as you go and make them more complex than they originally were. For example, maybe you\u2019re arranging for an acapella group or <strong>re-harmonizing<\/strong> a song (giving it a different chord progression while keeping the melody the same).<\/p>\n\n\n\n<p>If that\u2019s the case, you can freely experiment with notes that wouldn\u2019t otherwise work with the original chords. As long as you give them context that justifies your choices, you can end up with some very interesting arrangements.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"ComplementMelody\">Finding vocal harmonies that complement the melody<\/h3>\n\n\n\n<p>If you\u2019ve ever looked into how to sing harmonies in the past, you may have been told something like, \u201cOh, just sing the melody but shift it up or down by a third interval.\u201d<\/p>\n\n\n\n<p>On one hand, this is good advice. Parallel harmonies\u2014ones that match what the melody is doing\u2014generally sound very pleasing to the ear.<\/p>\n\n\n\n<p>On the other hand, it only works sometimes. If, when trying to match the shape of the melody, you run into notes that clash with the chord underneath, your harmony can sound very &#8216;wrong.&#8217;<\/p>\n\n\n\n<p>Does this mean that every note in the harmony needs to be a <strong>chord tone<\/strong>\u2014i.e. a note that can also be found in the chord?<\/p>\n\n\n\n<p>Not at all. In fact, when we look at melodies, they too are made up of a combination of notes\u2014some belong in the supporting chord, and others don\u2019t. Otherwise, melodies would get very boring very quickly.<\/p>\n\n\n\n<p>So, if you\u2019re considering singing a harmony with a note that\u2019s not a chord tone, it may or may not sound fine. How is that possible?<\/p>\n\n\n\n<p>It all has to do with the fact that notes can take on different roles in melodies, and these roles extend to their respective harmony lines.<\/p>\n\n\n\n<p>Some notes act like \u201canchors.\u201d They&#8217;re chord tones, and because of this, they\u2019re typically played together with the chord, held longer, and carry more weight. They give us lots of harmonic information and <a href=\"https:\/\/splice.com\/blog\/8-tips-effective-melodies-chords\/\" target=\"_blank\" rel=\"noreferrer noopener\">help the melody make sense with the chords.<\/a><\/p>\n\n\n\n<p>Other notes happen in between these anchors. We pass them briefly, usually on the way to another anchor note. If we gave them the same level of importance in the melody, they might sound off. But, because they don\u2019t carry the same weight, they simply make the melody more interesting without interfering with the overall harmony.<\/p>\n\n\n\n<p>So, here\u2019s the general rule of thumb:<\/p>\n\n\n\n<ol>\n<li>When you\u2019re harmonizing anchor notes, you should use other chord tones to make sure the harmony fits the chords.<\/li>\n\n\n\n<li>When you\u2019re filling spaces in between anchor notes, you can harmonize the melody and more or less match its shape, without worrying about it clashing with the chords.<\/li>\n<\/ol>\n\n\n\n<p>The only tricky part is, there isn\u2019t always a foolproof way to identify whether a note functions as an anchor or a filler. This is where you simply need to rely on your ears and go with what <em>feels<\/em> right.<\/p>\n\n\n\n<p>If all this makes your head spin, don\u2019t worry. We\u2019ll go through an example in just a moment and see how it plays out in practice.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"CreateVocalHarmonies\">How to create vocal harmonies<\/h2>\n\n\n\n<p>The goal is to find a harmony that fits the chords but also complements the melody.<\/p>\n\n\n\n<p>To do this, start by identifying the key that the song is in. In the place where you want to add a harmony, identify the chords and notes of the melody. Split your melody into sections, where each section is supported by a different chord.<\/p>\n\n\n\n<p>For each section, follow the five steps below:<\/p>\n\n\n\n<ol>\n<li>Find an \u201canchor\u201d note in the melody. It should be a chord tone.<\/li>\n\n\n\n<li>Shift your anchor note up or down so it matches a different chord tone\u2014one that\u2019s not already taken up by the melody.<\/li>\n\n\n\n<li>Shift the other notes (filler notes) so they roughly match the shape of the original melody, while staying within the same scale. More often than not, they can be shifted by the same interval as the anchor note, though this isn\u2019t always the case.<\/li>\n\n\n\n<li>Test your new harmony line. Its anchor notes should match the chord, while its filler notes should complement the melody without clashing with the chord underneath.<\/li>\n\n\n\n<li>If any filler notes still sound off, you can try shifting them to the nearest chord tone.<\/li>\n<\/ol>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Example\">How to harmonize: Follow along with an example<\/h2>\n\n\n\n<p>Let\u2019s follow these steps together and create a couple of harmonies for the first line of \u201cLet It Be\u201d by The Beatles.<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/7iN1s7xHE4ifF5povM6A48?si=2b79d1e485f24c7d\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>The song is in C major, so that\u2019s the scale we\u2019ll use. There are two chords supporting this line, so we\u2019ll split it into two sections.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"AnchorNotes\">Finding anchor notes and outlining filler notes (\u201cwhen I find myself in\u201d)<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"553\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image1-1024x553.jpg\" alt=\"&quot;Let It Be&quot; vocal harmonies in the piano roll of Ableton (1)\" class=\"wp-image-31132 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image1-1024x553.jpg 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image1-400x216.jpg 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image1-355x192.jpg 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image1-768x415.jpg 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image1.jpg 1440w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/553;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/Audio-1.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The first section is supported by the C major chord, which is made up of C, E, and G. The melody follows the notes G-G-G-G-A-E.<\/p>\n\n\n\n<p>We can tell that the G is an anchor note\u2014it\u2019s a chord tone, it lines up with the start of the chord, and feels important.<\/p>\n\n\n\n<p>To create a harmony to this line, we look to see if there are other chord tones in the C major chord that this G can \u201cshift\u201d to. How about the E?<\/p>\n\n\n\n<p>To go from G to E, we need to go down three notes on the C major scale (G is one, F is two, E is three), so we shift the whole section down by a third. Here\u2019s what this looks like:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"553\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image2-1024x553.jpg\" alt=\"&quot;Let It Be&quot; vocal harmonies in the piano roll of Ableton (2)\" class=\"wp-image-31133 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image2-1024x553.jpg 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image2-400x216.jpg 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image2-355x192.jpg 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image2-768x415.jpg 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image2.jpg 1440w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/553;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/Audio-2.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p><em><strong>Note:<\/strong> If you\u2019re using a MIDI workspace to help you figure out harmonies like we\u2019re doing here, just be careful. When we talk about shifting everything up or down by a third interval, it doesn\u2019t just mean highlighting every note and shifting it by the same amount on the piano roll. Instead, we shift every note by the same interval on a specific scale. Sometimes, the distance between two notes on a scale is two semitones, but sometimes it\u2019s one. It\u2019s helpful to have a MIDI controller out in front of you so you can play the scale and remind yourself what notes it contains.<\/em><\/p>\n\n\n\n<p>The new notes are E-E-E-E-F-C. Notice that the F doesn\u2019t belong in the C major chord, but it sounds fine because it\u2019s a filler note. It\u2019s in harmony with the melody, but it doesn\u2019t interfere with the underlying chord. The Es, on the other hand, maintain their position as anchor notes. As long as they\u2019re in harmony with the C major chord, this harmony line will work.<\/p>\n\n\n\n<p>Using the same process, we can also shift the anchor note from G to C. This new harmony line would look like this:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"553\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image3-1024x553.jpg\" alt=\"&quot;Let It Be&quot; vocal harmonies in the piano roll of Ableton (3)\" class=\"wp-image-31134 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image3-1024x553.jpg 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image3-400x216.jpg 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image3-355x192.jpg 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image3-768x415.jpg 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image3.jpg 1440w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/553;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/Audio-3.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>This is just one option. If you take a look at the chord that\u2019s created on the word \u201cin\u201d, that\u2019s an A minor. If that E was an anchor note and we stayed on it longer, its harmony would clash with the C major chord. But, because we skip over it pretty quickly, it\u2019s not really noticeable.<\/p>\n\n\n\n<p>However, another option to consider is this: We can treat that E as an anchor note and try to build a C major chord with the harmonies underneath. That might sound even better, and would look something like this:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"553\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image4-1024x553.jpg\" alt=\"&quot;Let It Be&quot; harmony in the piano roll of Ableton (4)\" class=\"wp-image-31135 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image4-1024x553.jpg 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image4-400x216.jpg 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image4-355x192.jpg 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image4-768x415.jpg 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image4.jpg 1440w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/553;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/Audio-4.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>Now, notice how the orange harmony line actually ends up on a higher pitch than the green melody. This is called a <strong>voice crossing.<\/strong> We generally want to avoid voice crossings, especially in settings where the two lines have the same volume and place in the mix\u2014for example, choir performances\u2014because it can cause confusion.<\/p>\n\n\n\n<p>But, if you\u2019re recording a song and you plan to mix the melody and harmony differently, then this can be completely fine.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"SmoothingTransitions\">Navigating jumps and smoothing transitions (\u201ctimes of trouble\u201d)<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"553\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image5-1024x553.jpg\" alt=\"&quot;Let It Be&quot; harmony in the piano roll of Ableton (5)\" class=\"wp-image-31136 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image5-1024x553.jpg 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image5-400x216.jpg 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image5-355x192.jpg 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image5-768x415.jpg 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image5.jpg 1440w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/553;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/Audio-5.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The next section is supported by the G major chord, which includes the notes G, B, and D. The melody follows the notes G-G-C-D.<\/p>\n\n\n\n<p>Once again, G is the anchor note. However, we can\u2019t simply continue the same two harmony lines from the previous section, because they&#8217;re anchored to E and C, which fit the C major chord. Instead, we need to create new harmonies and anchor them to the G major chord.<\/p>\n\n\n\n<p>Let\u2019s try shifting G down to a D. Now, when it comes to the two filler notes C-D, the melody does quite a big jump to get there. If possible, we typically want to avoid doing jumps like this in the harmony. When harmonies are nice and close, they\u2019re not only easier to sing, but they sound cohesive, too.<\/p>\n\n\n\n<p>So, we need to find another place to put these two filler notes. Remember, they don\u2019t actually need to harmonize with the G major chord\u2014they just need to harmonize with the melody. Is there an interval we can use to shift them somewhere close to that anchor D? A third is always a great choice, and going a third up from C-D brings us to E-F. Shift that down an octave, and we\u2019ve got the line D-D-E-F. That\u2019s perfect!<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"553\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image6-1024x553.jpg\" alt=\"&quot;Let It Be&quot; harmony in the piano roll of Ableton (6)\" class=\"wp-image-31137 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image6-1024x553.jpg 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image6-400x216.jpg 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image6-355x192.jpg 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image6-768x415.jpg 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image6.jpg 1440w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/553;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/Audio-6.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>Lastly, let\u2019s write a harmony line that uses B as the anchor note. To get to the B, we can shift the anchor G up or down. Since the harmonies in the previous section were both lower, let\u2019s keep these ones under the melody, as well. The goal is to make the transitions between sections as seamless as possible.<\/p>\n\n\n\n<p>Once again, we want to avoid doing a big jump from the anchor B to the filler notes. Are there two notes that are close to the B that would also harmonize with C-D and E-F? Well, if we go a third down from C-D, we\u2019d get A-B. Move down an octave, and that\u2019s about as close to the anchor B as we can get!<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"553\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image7-1024x553.jpg\" alt=\"&quot;Let It Be&quot; harmony in the piano roll of Ableton (7)\" class=\"wp-image-31138 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image7-1024x553.jpg 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image7-400x216.jpg 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image7-355x192.jpg 355w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image7-768x415.jpg 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/image7.jpg 1440w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/553;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/Audio-7.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>And there you have it\u2014two harmony lines below the melody that complement it, match the underlying chords, and are easy to sing.<\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-background has-link-color wp-elements-f5a2734ea82e3ec51d9db4acbad33d87\" style=\"background-color:#62daff\"><a href=\"https:\/\/splice.com\/plans\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>New subscribers can try all of Splice\u2014including 200 monthly sample download credits, full access to all premium INSTRUMENT presets, and more\u2014for $4.99\/mo.<\/strong><\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"OtherTypes\">Other types of vocal harmonies<\/h2>\n\n\n\n<p>When coming up with vocal harmonies, you can use music theory as a starting point to identify chord tones and intervals. But, after that, it\u2019s just like coming up with a new melody\u2014there\u2019s freedom to take it anywhere, as long as it complements everything else that\u2019s happening in the song and sounds pleasing to the ear.<\/p>\n\n\n\n<p>In the example above, we looked at how to create <strong>parallel harmonies<\/strong>\u2014they follow the shape of the melody as closely as possible. But, there are other kinds as well.<\/p>\n\n\n\n<p>You can move in the opposite direction from the melody and create a <strong>contrary harmony.<\/strong> You can pick a note and stay on it, creating an <strong>oblique harmony.<\/strong> You can even stack the chord tones and stay on them for the entire duration of the chord. When you\u2019re not sure what else to do, this is an easy harmony to try.<\/p>\n\n\n\n<p>You can also mix and match techniques. For example, follow the melody for a bit, and then stay on a single note. There are really no hard rules about what your harmony can or can\u2019t be. If it sounds good, then it works!<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"TrustEar\">Trust your ear<\/h2>\n\n\n\n<p>We can look to theory to explain why certain notes sound good together, while others don\u2019t. But, don\u2019t feel like this is the only option. Many singers make decisions based solely on what sounds pleasing to the ear. Unless you know music theory like the back of your hand, it can sometimes be faster to try out a few different notes and go with the one that sounds best.<\/p>\n\n\n\n<p>For example, we talked about how melodies are based on the key and scale of the song. But, most songs also have chords and notes that are borrowed from other keys or <a href=\"https:\/\/splice.com\/blog\/music-modes\/\" target=\"_blank\" rel=\"noreferrer noopener\">modes.<\/a> When this happens, the harmony needs to deviate from the overall scale, too. Instead of spending time trying to figure out what that other scale or mode is, it\u2019s often easier to just trust your ear and go with what sounds good.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Practice\">How to find vocal harmonies: Conclusion<\/h2>\n\n\n\n<p>At first, you may need to sit with a keyboard and meticulously plan out each note of the harmony you\u2019re going to sing, much like we did in the \u201cLet It Be\u201d example. But, it won\u2019t always be like this. With enough experience and practice, you\u2019ll eventually be able to come up with harmonies intuitively in your head, and often on the fly!<\/p>\n\n\n\n<p>To get there quicker, listen to as much music as you can and try to sing along with the harmony parts. If you find it difficult to sing something different than the lead vocal and tend to switch back to the melody, start with oblique harmonies\u2014just pick a note and hold it. From there, you can experiment with gradually including other notes, as well.<\/p>\n\n\n\n<p>If you have trouble hearing harmonies in songs, you can try listening to isolated <a href=\"https:\/\/splice.com\/sounds\/search\/samples?filepath=vocal%20harmonies\" target=\"_blank\" rel=\"noreferrer noopener\">vocal samples with harmonies.<\/a> Without the fully produced track in the background, it might be easier to hear what each harmony part is doing. You can then try and replicate these samples by recording your own voice.<\/p>\n\n\n\n<p>It won\u2019t happen overnight, but the more you practice hearing, singing, and creating new vocal harmonies, the easier it will get. Stay the course and you\u2019ll be a harmony whiz in no time!<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"has-text-align-center\">Browse vocal harmonies on Splice:<\/p>\n\n\n\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button aligncenter\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/splice.com\/sounds\/search\/samples?filepath=vocal%20harmonies\" target=\"_blank\" rel=\"noreferrer noopener\">Explore the sounds<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Explore the qualities that make a vocal harmony effective and learn how to write your own harmonies from scratch.<\/p>\n","protected":false},"author":93,"featured_media":31146,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1699,1696],"tags":[1633,1254,1249],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Vocal Harmonies Guide: How to Write &amp; Sing A Vocal Harmony - Blog | Splice<\/title>\n<meta name=\"description\" content=\"Explore tips on what makes an effective vocal harmony and learn how to find ways to get inspired to write your own vocal harmonies.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/splice.com\/blog\/how-to-create-vocal-harmonies\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vocal Harmonies Guide: How to Write &amp; Sing A Vocal Harmony - Blog | Splice\" \/>\n<meta property=\"og:description\" content=\"Explore tips on what makes an effective vocal harmony and learn how to find ways to get inspired to write your own vocal harmonies.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/splice.com\/blog\/how-to-create-vocal-harmonies\/\" \/>\n<meta property=\"og:site_name\" content=\"Blog | Splice\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/Splice\" \/>\n<meta property=\"article:published_time\" content=\"2026-04-07T19:37:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-04-07T19:37:14+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/0224-How-to-create-vocal-harmonies-BlogPost.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"SAYANA\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@splice\" \/>\n<meta name=\"twitter:site\" content=\"@splice\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"SAYANA\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/splice.com\/blog\/how-to-create-vocal-harmonies\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/splice.com\/blog\/how-to-create-vocal-harmonies\/\"},\"author\":{\"name\":\"SAYANA\",\"@id\":\"https:\/\/splice.com\/blog\/#\/schema\/person\/29027f412ad03a3d7f62ab04b7e9fa7d\"},\"headline\":\"How to create vocal harmonies: A step-by-step guide\",\"datePublished\":\"2026-04-07T19:37:00+00:00\",\"dateModified\":\"2026-04-07T19:37:14+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/splice.com\/blog\/how-to-create-vocal-harmonies\/\"},\"wordCount\":3279,\"publisher\":{\"@id\":\"https:\/\/splice.com\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/splice.com\/blog\/how-to-create-vocal-harmonies\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/03\/0224-How-to-create-vocal-harmonies-BlogPost.png\",\"keywords\":[\"composition\",\"sounds\",\"vocals\"],\"articleSection\":[\"Music Theory\",\"Tips &amp; 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