by Mike Overly
In 1722, Jean-Philippe Rameau defined harmony as “...the gathering together of several sounds which are agreeable to the ear.” This traditional definition of harmony is still true today - but it needs a little modern updating.
Let us begin by stating, harmony begins with one sound which is symbolized by a letter and a number. The harmony letter may be one of 21 letters, see http://www.homeeddirectory.com/blog/learn-guitar-flash, but the harmony number may be only one number, tone 1. Tone 1 is also known as the root, tonic or scale degree 1.
From the beginning, key is simply defined as the letter of tone 1. For example, if A is the letter of tone 1, then you are in the key of A. Yes, it's that simple!
Harmony then proceeds to gather more sounds by adding letters and tone numbers in a numerical order. The progressive harmonies that result are then given harmony names. For example, two sounds with the same letter name, or with two different letter names is called an interval. Three sounds with three different letter names is a triad. And four sounds with four different letter names is known as a tetrad. Theoretically, harmony continues extending until it includes all 12 sounds with 21 different letter names. Thank goodness dodecaphonic harmony can’t be played on a six string guitar!
However, harmony can be played on the guitar in two different ways: melodic and harmonic. Simply stated, melodic is defined as one at a time, and harmonic is at the same time.
When harmony of three or more different letters and tone numbers are played melodically, one at a time, it is called an arpeggio. And when harmony of three or more different letters and tone numbers are played harmonically, at the same time, it a known as a chord. Intervals of two sounds may be played both melodically and harmonically, but, are not considered or called arpeggios or chords.
A traditional harmony symbol, such as Cm, is almost always referred to as a chord symbol. However, this would not be true if the Cm harmony was played as an arpeggio. In that case, the Cm harmony symbol would have to be called an arpeggio symbol, and that sounds weird. So, to avoid naming harmony by the way it is played, simply use the term harmony symbol. That way, you are free to play the harmony however you wish, either as an arpeggio or as a chord.
Harmony is grouped into types based upon the 3rd and 5th intervals. The 3rds intervals are: natural three major (3), flat three minor (b3), and sharp three suspended (#3). The 5ths intervals are: natural five perfect (5), flat five diminished (b5), and sharp five augmented (#5).
By combining the above six interval types, nine triads is the result: major 1 3 5, major flat five 1 3 b5, major sharp five 1 3 #5, minor 1 b3 5, minor flat five 1 b3 b5, minor sharp five 1 b3 #5, and suspended 1 #3 5, suspended flat five 1 #3 b5, and suspended sharp five 1 #3 b5.
By adding the remaining major scale tones: 6 7 9 11 and 13 (plus their chromatic sharps and flats) to the nine triads, a virtually infinite number of harmonies may be created.
The definition of progress is to move forward. Therefore, a harmony progression is when an arpeggio or chord harmony moves forward to another harmony of any type. And by combining these virtually infinite number of harmonies with an equally seemingly infinite number of harmony types in any order, the result is more harmony progressions than anyone on Earth has time to play!
In a future lesson we’ll explore First Inversion harmony, but before then, be sure to read the free online lesson: It's Like Magic http://www.12tonemusic.com/guitar/lessons/freeLessons/gemlsn07.htm.
'Til next time, have some Zero Inversion harmony fun, and don’t forget to progress! I’ll be listening... and if you liked this lesson, or even if you didn't, drop me a line and tell me so. frets@12tonemusic.com
Globally-renowned guitar and bass instructor, Mike Overly easily combines the worlds of deeply-rooted academic study with a well-textured performance resume. His pathbreaking 12 Tone Music Publishing products, including the newly released "Tone Note® Music Method for Guitar," provide valuable illuminating insights while simplifying the learning process.
Join Mike at www.12tonemusic.com to explore and expand your knowledge of these two iconic instruments through a variety of reviews and interviews, tips and tricks and free lessons of remarkable originality, all presented in a family-friendly forum. Plus, as an added bonus, you get to follow Mr. Pick as he introduces you to fun fretboard games, jokes, riddles, quotes and more. Be sure to read the 12 Tone Music Blog where Mike offers a behind-the-scenes look at the development of his unique approach to solving the problems of modern musical notation and traditional guitar and bass methods.
Mike Overly's unmatched perspective on fretboard education has something for everyone ~ from the amateur hobbyist to the serious professional player ~ as well as any music enthusiast who wants to come along for the ride.
In 1722, Jean-Philippe Rameau defined harmony as “...the gathering together of several sounds which are agreeable to the ear.” This traditional definition of harmony is still true today - but it needs a little modern updating.
Let us begin by stating, harmony begins with one sound which is symbolized by a letter and a number. The harmony letter may be one of 21 letters, see http://www.homeeddirectory.com/blog/learn-guitar-flash, but the harmony number may be only one number, tone 1. Tone 1 is also known as the root, tonic or scale degree 1.
From the beginning, key is simply defined as the letter of tone 1. For example, if A is the letter of tone 1, then you are in the key of A. Yes, it's that simple!
Harmony then proceeds to gather more sounds by adding letters and tone numbers in a numerical order. The progressive harmonies that result are then given harmony names. For example, two sounds with the same letter name, or with two different letter names is called an interval. Three sounds with three different letter names is a triad. And four sounds with four different letter names is known as a tetrad. Theoretically, harmony continues extending until it includes all 12 sounds with 21 different letter names. Thank goodness dodecaphonic harmony can’t be played on a six string guitar!
However, harmony can be played on the guitar in two different ways: melodic and harmonic. Simply stated, melodic is defined as one at a time, and harmonic is at the same time.
When harmony of three or more different letters and tone numbers are played melodically, one at a time, it is called an arpeggio. And when harmony of three or more different letters and tone numbers are played harmonically, at the same time, it a known as a chord. Intervals of two sounds may be played both melodically and harmonically, but, are not considered or called arpeggios or chords.
A traditional harmony symbol, such as Cm, is almost always referred to as a chord symbol. However, this would not be true if the Cm harmony was played as an arpeggio. In that case, the Cm harmony symbol would have to be called an arpeggio symbol, and that sounds weird. So, to avoid naming harmony by the way it is played, simply use the term harmony symbol. That way, you are free to play the harmony however you wish, either as an arpeggio or as a chord.
Harmony is grouped into types based upon the 3rd and 5th intervals. The 3rds intervals are: natural three major (3), flat three minor (b3), and sharp three suspended (#3). The 5ths intervals are: natural five perfect (5), flat five diminished (b5), and sharp five augmented (#5).
By combining the above six interval types, nine triads is the result: major 1 3 5, major flat five 1 3 b5, major sharp five 1 3 #5, minor 1 b3 5, minor flat five 1 b3 b5, minor sharp five 1 b3 #5, and suspended 1 #3 5, suspended flat five 1 #3 b5, and suspended sharp five 1 #3 b5.
By adding the remaining major scale tones: 6 7 9 11 and 13 (plus their chromatic sharps and flats) to the nine triads, a virtually infinite number of harmonies may be created.
The definition of progress is to move forward. Therefore, a harmony progression is when an arpeggio or chord harmony moves forward to another harmony of any type. And by combining these virtually infinite number of harmonies with an equally seemingly infinite number of harmony types in any order, the result is more harmony progressions than anyone on Earth has time to play!
In a future lesson we’ll explore First Inversion harmony, but before then, be sure to read the free online lesson: It's Like Magic http://www.12tonemusic.com/guitar/lessons/freeLessons/gemlsn07.htm.
'Til next time, have some Zero Inversion harmony fun, and don’t forget to progress! I’ll be listening... and if you liked this lesson, or even if you didn't, drop me a line and tell me so. frets@12tonemusic.com
Globally-renowned guitar and bass instructor, Mike Overly easily combines the worlds of deeply-rooted academic study with a well-textured performance resume. His pathbreaking 12 Tone Music Publishing products, including the newly released "Tone Note® Music Method for Guitar," provide valuable illuminating insights while simplifying the learning process.
Join Mike at www.12tonemusic.com to explore and expand your knowledge of these two iconic instruments through a variety of reviews and interviews, tips and tricks and free lessons of remarkable originality, all presented in a family-friendly forum. Plus, as an added bonus, you get to follow Mr. Pick as he introduces you to fun fretboard games, jokes, riddles, quotes and more. Be sure to read the 12 Tone Music Blog where Mike offers a behind-the-scenes look at the development of his unique approach to solving the problems of modern musical notation and traditional guitar and bass methods.
Mike Overly's unmatched perspective on fretboard education has something for everyone ~ from the amateur hobbyist to the serious professional player ~ as well as any music enthusiast who wants to come along for the ride.
