Harmony

:This article is about musical harmony. For other uses of the term, see Harmony (disambiguation).

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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.

Related Topics:
Pitch simultaneity - Chord - Music - Melody - Counterpoint - Polyphony - Motifs

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The word harmony comes from the Greek ἁρμονία harmonía meaning "a fastening or join". The concept of harmony dates as far back as Pythagoras.

Related Topics:
Greek - Pythagoras

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Some traditions of music performance, composition, and theory have specific rules of harmony. These rules are often held to be based on a natural properties such as Pythagorean tuning's low whole number ratios ("harmoniousness" being inherent in the ratios either perceptually or in themselves) or harmonics and 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.

Related Topics:
Tradition - Performance - Composition - Theory - Pythagorean tuning - Harmonic - Resonance

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Although most harmony comes about as a result of two or more notes being sounded simultaneously, it is possible to create harmony with only one melodic line. There are many pieces from the baroque period for solo string instruments for example, in which chords are very rare, but which nonetheless convey a full sense of harmony.

Related Topics:
Baroque - String instrument

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For much of the history of western classical music, including the common practice period, the conventions and rules of harmony were strictly enforced, often by the controlling influence of the Roman Catholic Church, while folk music and non-Western music also developed often widely different notions of harmony. Church music was controlled by the churches in the Baroque and Classical periods, and music which had harmonies considered too dissonant were frowned upon. However, there was a general trend from the classical period to the 20th century in western classical music for harmony to become more advanced, with composers breaking many of the conventions which were once considered "rules".

Related Topics:
Classical music - Common practice period - Roman Catholic Church - Folk music - 20th century

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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 and Renaissance 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.

Related Topics:
Carl Dahlhaus - 1990 - Hierarchical - Tonality - Medieval - Renaissance - Interval cycle - Alban Berg - George Perle - Arnold Schoenberg - Béla Bartók - Edgard Varèse - Density 21.5

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Harmony may also be distinguished as centrifugal or centripetal harmony, harmony which leads away from or to the tonic, respectively. For example, music of the classical era is most often centrifugal, while the ragtime progression is centripetal. (van der Merwe 1989)

Related Topics:
Classical era - Ragtime progression

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Together Tonality and Chord (music) contain much information on harmony.

Related Topics:
Tonality - Chord (music)

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