Difference between revisions of "Harmony" - New World Encyclopedia
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| − | '''Harmony''' is the use and study of | + | '''Harmony''' is the use and study of pitch simultaneity and [[chord]]s, actual or implied, in [[music]]. It is sometimes referred to as the "vertical" aspect of music, with [[melody]] being the "horizontal" aspect. Very often, harmony is a result of [[counterpoint]] or polyphony, several melodic lines or motifs]] being played at once, though harmony may control the counterpoint. |
== Origin of term == | == Origin of term == | ||
| − | The word ''harmony'' comes from the | + | The word ''harmony'' comes from the Greek language ἁρμονία ''harmonía'' meaning "a fastening or join". The concept of harmony dates as far back as Pythagoras. |
== Historical rules of harmony == | == Historical rules of harmony == | ||
| − | Some | + | Some traditions of music performance, musical composition, and music theory have specific rules of harmony. These rules are often held to be based on natural properties such as the Pythagorean tuning's low whole number ratios ("harmoniousness" being inherent in the ratios either perceptually or in themselves) or [[harmonic]]s and acoustic resonances ("harmoniousness" being inherent in the quality of sound), with the allowable pitches and harmonies gaining their beauty or simplicity from their closeness to those properties. Other traditions, such as the ban on parallel fifths, were simply matters of taste. |
| − | Although most harmony comes about as a result of two or more notes being sounded simultaneously, it is possible to strongly imply harmony with only one melodic line. There are many pieces from the | + | Although most harmony comes about as a result of two or more notes being sounded simultaneously, it is possible to strongly imply harmony with only one melodic line. There are many pieces from the Baroque music period for solo [[string instrument]]s, such as Bach's sonatas and partitas for solo violin, in which chords are very rare, but which nonetheless convey a full sense of harmony. |
| − | For much of the | + | For much of the common practice period of European classical music, there was a general trend for harmony to become more dissonant. Chords considered daring in one generation became commonplace in the next. |
== Types of harmony == | == Types of harmony == | ||
| − | + | Carl Dahlhaus (1990) distinguishes between '''coordinate''' and '''subordinate harmony'''. Subordinate harmony is the hierarchical tonality or tonal harmony well known today, while coordinate harmony is the older Medieval music and Renaissance music ''tonalité ancienne'', "the term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a "progression" with a second chord, and a second with a third. But the earlier chord progression is independent of the later one and vice versa." Coordinate harmony follows direct (adjacent) relationships rather than indirect as in subordinate. Interval cycles create symmetrical harmonies, such as frequently in the music of [[Alban Berg]], [[George Perle]], [[Arnold Schoenberg]], [[Béla Bartók]], and [[Edgard Varèse]]'s ''Density 21.5''. | |
| − | + | '''Harmony''' is the result of polyphony (more than one note being played simultaneously). | |
| − | |||
| − | |||
| − | |||
| − | '''Harmony''' is the result of | ||
Harmony is a study in music theory. | Harmony is a study in music theory. | ||
== Origin of term == | == Origin of term == | ||
| − | The word harmony comes from the Greek ἁρμονία harmonía meaning "a fastening or joint". The concept of harmony dates as far back as Pythagoras. Therefore it is evident why it is used to refer to a connection between people joining in " | + | The word harmony comes from the Greek ἁρμονία harmonía meaning "a fastening or joint". The concept of harmony dates as far back as Pythagoras. Therefore it is evident why it is used to refer to a connection between people joining in "peace". |
== Intervals == | == Intervals == | ||
| − | An interval is the relationship between pitch two separate musical pitches. For example, in the common tune " | + | An interval is the relationship between pitch two separate musical pitches. For example, in the common tune "Twinkle Twinkle Little Star", the first two notes (the first "twinkle") and the second two notes (the second "twinkle") are at the interval of one fifth. What this means is that if the first two notes were the pitch "C", the second two notes would be the pitch "G"—four scale notes, or seven chromatic notes (one fifth), above it. |
Here is a table to common intervals: | Here is a table to common intervals: | ||
| Line 139: | Line 135: | ||
== Tensions == | == Tensions == | ||
| − | There are certain basic harmonies. A basic chord consists of three notes: the root, the third above the root, and the fifth above the root (which happens to be the minor third above the third above the root). So, in a C chord, the notes are C, E, and G. In an A-flat chord, the notes are Ab, C, and Eb. In many types of music, notably baroque and jazz, basic chords are often augmented with "tensions". A tension is a degree of the scale which, in a given key, hits a dissonant interval. For more on what that means, see the article on | + | There are certain basic harmonies. A basic chord consists of three notes: the root, the third above the root, and the fifth above the root (which happens to be the minor third above the third above the root). So, in a C chord, the notes are C, E, and G. In an A-flat chord, the notes are Ab, C, and Eb. In many types of music, notably baroque and jazz, basic chords are often augmented with "tensions". A tension is a degree of the scale which, in a given key, hits a dissonant interval. For more on what that means, see the article on Consonance and dissonance. The most basic, common example of a tension is a "seventh" (actually a minor, or flat seventh)—so named because it is the seventh degree of the scale in a given key. While the actual degree is a flat seventh, the nomenclature is simply "seventh". So, in a C7 chord, the notes are C, E, G, and Bb. Other common dissonant tensions include ninths and elevenths. In jazz, chords can become very complex with several tensions. |
Typically, a dissonant chord (chord with a tension) will "resolve" to a consonant chord. | Typically, a dissonant chord (chord with a tension) will "resolve" to a consonant chord. | ||
| Line 158: | Line 154: | ||
==See also== | ==See also== | ||
{{wiktionarypar|harmony}} | {{wiktionarypar|harmony}} | ||
| − | * | + | * Barbershop music |
| − | * | + | * Consonance and dissonance |
| − | * | + | * Chord (music) |
| − | * | + | * Chord sequence |
| − | * | + | * Chromatic chord |
| − | * | + | * Counterpoint |
| − | * | + | * Harmonic series |
| − | * | + | * Homophony (music) |
| − | * | + | * Mathematics of musical scales |
| − | * '' | + | * ''Musica universalis'' |
| − | * | + | * Physics of music |
| − | * | + | * Show choir |
| − | * | + | * Tonality |
| − | * | + | * Unified field |
| − | * | + | * Voice leading |
==Further reading== | ==Further reading== | ||
| − | *''Twentieth Century Harmony: Creative Aspects and Practice'' | + | * Persichetti, Vincent, ''Twentieth Century Harmony: Creative Aspects and Practice'', ISBN 0-393-09539-8. |
| − | * | + | *Arnold Schoenberg — ''Harmonielehre''. Universal Edition, 1911. Trans. by Roy Carter as ''Theory of Harmony''. University of California Press, 1978 |
*Arnold Schoenberg — ''Structural Functions of Harmony''. Ernest Benn Limited, second (revised) edition, 1969. Ed. Leonard Stein. | *Arnold Schoenberg — ''Structural Functions of Harmony''. Ernest Benn Limited, second (revised) edition, 1969. Ed. Leonard Stein. | ||
*[[Walter Piston]] — ''Harmony'', 1969. ISBN 0-393-95480-3. | *[[Walter Piston]] — ''Harmony'', 1969. ISBN 0-393-95480-3. | ||
Revision as of 23:06, 28 February 2007
Harmony is the use and study of pitch simultaneity and chords, actual or implied, in music. It is sometimes referred to as the "vertical" aspect of music, with melody being the "horizontal" aspect. Very often, harmony is a result of counterpoint or polyphony, several melodic lines or motifs]] being played at once, though harmony may control the counterpoint.
Origin of term
The word harmony comes from the Greek language ἁρμονία harmonía meaning "a fastening or join". The concept of harmony dates as far back as Pythagoras.
Historical rules of harmony
Some traditions of music performance, musical composition, and music theory have specific rules of harmony. These rules are often held to be based on natural properties such as the Pythagorean tuning's low whole number ratios ("harmoniousness" being inherent in the ratios either perceptually or in themselves) or harmonics and acoustic resonances ("harmoniousness" being inherent in the quality of sound), with the allowable pitches and harmonies gaining their beauty or simplicity from their closeness to those properties. Other traditions, such as the ban on parallel fifths, were simply matters of taste.
Although most harmony comes about as a result of two or more notes being sounded simultaneously, it is possible to strongly imply harmony with only one melodic line. There are many pieces from the Baroque music period for solo string instruments, such as Bach's sonatas and partitas for solo violin, in which chords are very rare, but which nonetheless convey a full sense of harmony.
For much of the common practice period of European classical music, there was a general trend for harmony to become more dissonant. Chords considered daring in one generation became commonplace in the next.
Types of harmony
Carl Dahlhaus (1990) distinguishes between coordinate and subordinate harmony. Subordinate harmony is the hierarchical tonality or tonal harmony well known today, while coordinate harmony is the older Medieval music and Renaissance music tonalité ancienne, "the term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a "progression" with a second chord, and a second with a third. But the earlier chord progression is independent of the later one and vice versa." Coordinate harmony follows direct (adjacent) relationships rather than indirect as in subordinate. Interval cycles create symmetrical harmonies, such as frequently in the music of Alban Berg, George Perle, Arnold Schoenberg, Béla Bartók, and Edgard Varèse's Density 21.5.
Harmony is the result of polyphony (more than one note being played simultaneously).
Harmony is a study in music theory.
Origin of term
The word harmony comes from the Greek ἁρμονία harmonía meaning "a fastening or joint". The concept of harmony dates as far back as Pythagoras. Therefore it is evident why it is used to refer to a connection between people joining in "peace".
Intervals
An interval is the relationship between pitch two separate musical pitches. For example, in the common tune "Twinkle Twinkle Little Star", the first two notes (the first "twinkle") and the second two notes (the second "twinkle") are at the interval of one fifth. What this means is that if the first two notes were the pitch "C", the second two notes would be the pitch "G"—four scale notes, or seven chromatic notes (one fifth), above it.
Here is a table to common intervals:
| Root | Third | Minor third | Fifth |
|---|---|---|---|
| C | E | Eb | G |
| C# | F | E | Ab |
| D | F# | F | A |
| Eb | G | Gb | Bb |
| E | G# | G | B |
| F | A | Ab | C |
| F# | A# | A | C# |
| G | B | Bb | D |
| Ab | C | B | Eb |
| A | C# | C | E |
| Bb | D | Db | F |
| B | D# | D | F# |
To put it simply, the combination of notes to make intervals creates harmony. A chord is harmony, for example. In a C chord, there are three notes: C, E, and G. The note "C" is the root tone, with the notes "E" and "G" providing harmony.
In the musical scale, there are twelve pitches. Each pitch is referred to as a "degree" of the scale. In actuality, there are no names for each degree-there is no real "C" or "E-flat" or "A". Nature did not name the pitches. The only inherent quality that these degrees have is their harmonic relationship to each other. The names A, B, C, D, E, F, and G are intransigent. The intervals, however, are not. Here is an example:
| 1° | 2° | 3° | 4° | 5° | 6° | 7° | 8° |
|---|---|---|---|---|---|---|---|
| C | D | E | F | G | A | B | C |
| D | E | F# | G | A | B | C# | D |
As you can see there, no note always corresponds to a certain degree of the scale. The "root", or 1st-degree note, can be any of the 12 notes of the scale. All the other notes fall into place. So, when C is the root note, the fourth degree is F. But when D is the root note, the fourth degree is G. So while the note names are intransigent, the intervals are not in layman's terms: a "fourth" (four-step interval) is always a fourth, no matter what the root note is. The great power of this fact is that any song can be played or sung in any key-it will be the same song, as long as the intervals are kept the same.
Tensions
There are certain basic harmonies. A basic chord consists of three notes: the root, the third above the root, and the fifth above the root (which happens to be the minor third above the third above the root). So, in a C chord, the notes are C, E, and G. In an A-flat chord, the notes are Ab, C, and Eb. In many types of music, notably baroque and jazz, basic chords are often augmented with "tensions". A tension is a degree of the scale which, in a given key, hits a dissonant interval. For more on what that means, see the article on Consonance and dissonance. The most basic, common example of a tension is a "seventh" (actually a minor, or flat seventh)—so named because it is the seventh degree of the scale in a given key. While the actual degree is a flat seventh, the nomenclature is simply "seventh". So, in a C7 chord, the notes are C, E, G, and Bb. Other common dissonant tensions include ninths and elevenths. In jazz, chords can become very complex with several tensions.
Typically, a dissonant chord (chord with a tension) will "resolve" to a consonant chord.
Part harmonies
There are four basic "parts" in classical music-soprano, alto, tenor, and bass.
Note: there can be more than one example of those parts in a given song, and there are also more parts. These are just the basic ones.
The four parts combine to form a chord. Speaking in the most general, basic, quintessential terms, the parts function in this manner:
Bass - root note of chord (1st degree) Tenor and Alto - provide harmonies corresponding to the 3rd and 5th degrees of the scale; the Alto line usually sounds a third below the soprano Soprano - melody line; usually provides all tensions
Please note that that is the most impossibly basic and distilled example of 4-part harmony. There is a nearly infinite number of alternate harmonic permutations.
See also
- Barbershop music
- Consonance and dissonance
- Chord (music)
- Chord sequence
- Chromatic chord
- Counterpoint
- Harmonic series
- Homophony (music)
- Mathematics of musical scales
- Musica universalis
- Physics of music
- Show choir
- Tonality
- Unified field
- Voice leading
Further reading
- Persichetti, Vincent, Twentieth Century Harmony: Creative Aspects and Practice, ISBN 0-393-09539-8.
- Arnold Schoenberg — Harmonielehre. Universal Edition, 1911. Trans. by Roy Carter as Theory of Harmony. University of California Press, 1978
- Arnold Schoenberg — Structural Functions of Harmony. Ernest Benn Limited, second (revised) edition, 1969. Ed. Leonard Stein.
- Walter Piston — Harmony, 1969. ISBN 0-393-95480-3.
- Copley, R. Evan (1991). Harmony, Baroque to Contemporary, Part One (2nd ed.). Champaign: Stipes Publishing. ISBN 0-87563-373-0.
- Copley, R. Evan (1991). Harmony, Baroque to Contemporary, Part Two (2nd ed.). Champaign: Stipes Publishing. ISBN 0-87563-377-3.
- Kholopov, Yuri, "Harmony. Practical Course". In 2 Vol., Moscow: Kompozitor, 2003. ISBN 5-85285-619-3.
ReferencesISBN links support NWE through referral fees
- Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality, p.141. Princeton University Press. ISBN 0-691-09135-8.
- van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. ISBN 0-19-316121-4.
