After you read this section, you will be able to tell what is a triad, and you will finally understand, what harmony is all about.
Also, you will learn about the different kinds of music
Enjoy...
The Basics of Music and Harmony
Harmony is, in music, the note
combination that is emitted simultaneously. The term harmony is used so
much in the general sense of a note assembly or sounds that sound at the
same time, like in the one of the succession of these assemblies of
sounds. The harmony would be the term opposed to the one of melody (in
which the sounds emit one after another one)
When two or more notes appear at the
same time in any musical composition takes place a type characteristic of
harmony: in the intersection of melodies simultaneous of a flight or in
one melody to which it accompanies a certain counterpoint; in the chord
to the guitar that accompanies a folksong; in the surprising blocks
of chord of the harmonica that are touched next to melody in the Japanese
music of gagaku; and in the prolonged sounds or very insistently repeated
(calls pedals) that serves as base to as diverse sorts as the music of
gaits of Scotland or the classic music of India. Nevertheless, it is in
the West, specially in the period subsequent to the Renaissance, where the
harmony assumes a central role in the structure and musical expression.
Most of the western music of centuries
XVII to XIX the structure according to the tonality, that is to say, to
the hierarchical structuring of all the sounds around one main tonic call.
In the pitch music of this period the paper of the tonic affirms through
the relations that with her establish the other degrees of the scale and
the chord (joint of
sounds) that forms on them. This harmonic framework, known like functional
harmony, is the subject of great part of the exhibition that follows.
Intervals and triads the intervals
(that are the assembly of t and
haft that separate different
sounds) are the constituent elements of the harmony. The intervals,
according to their greater or smaller amplitude, have different qualities.
Some intervals are perceived like consonants (the notes that constitute
them do not create voltage to the being perceived simultaneously), whereas
others are perceived like dissonant (when the notes that constitute them
generate a voltage to the being perceived simultaneously). The difference
between both types is purely relative: the most consonant intervals are
those than arise more and more first in the series of the overt
(the eighth, fifth, etc.), becoming dissonant according to they are
moved away of the fundamental sound that they produce these overt .
The
basic element of the harmony of pitch music is the chord one constituted
by three different notes called triad (that
unit composed of three parts means). The three notes of the triad, for
example 1 are denominated fundamental, third and fifth. Third it is
at an interval of third over the fundamental one and the fifth is to a
fifth of distance of the fundamental one.
The triads respond to four types
or variants. Two of them are consonant. First she is the greater triad one
(for example, do-mi-sol), in which, in relation to the fundamental one,
they form a one third greater (do-mi) and fifth perfect one (do-sol). The
second triad is smaller (for example, do-mi-sol) in that the relation that
settles down is of third minor (do-mi.) and of fifth with respect to the
fundamental one. The third and fourth variants are dissonant. The
diminished triad one (like in do-mi-sol.) a diminished fifth is formed by
one third minor and (do-sol.) dissonant. The increased triad one (for
example, do-mi-sol.) it is formed by a one third greater and increased
fifth (do-sol.) dissonant. The increased triad serves as example of which
it was said before: the dissonance is relative. Both intervals that form
these chord (do-mi; mi-sol. and do-mi, mi-sol.) they are not dissonant in
themselves.
In the functional harmony, the note
that is elevated like tonic is the one that gives the name to a greater or smaller scale. The tonality is based
on the series of relations that this tonic establishes with the remaining
sounds of its scale and the triads that are constituted on them. For that
reason, compositions in the greater tonality of do will have to the tonic
note do as and will be structured around the greater scale of do. The
triads can be constructed on any note of the scale, and it designates them
with Roman numbers, according to the order that occupies in the scale the
fundamental note on which they are constituted. The chord one which it
reinforces the position of the tonic more and whose hearing generates a
sensitive necessity towards her is the triad one constructed on the fifth
note of the scale (chord dominant or V). the chord
constructed on other notes of the scale (II, III, IV, VI and VII)
also play its role in the structuring of music, or in the preparation of
the tonic of the dominant one or in the interaction of they themselves.
All the triads can appear from anyone of their three notes as it bases. In
the called position fundamental (arrangement of the intervals by third and
fifth with respect to the low one, example 1) the triad one has its more
stable form. The investments of the triads, that they have other notes of
chord in low (like, for example, mi-sol-do and sol-do-mi for the triad one
whose fundamental position is do-mi-sol), are more unstable forms of the
same harmony.
Through the connection of a chord with
others (call harmonic progression) are generated the movement in pitch
music. The harmonic progressions include the game from the tonic, the
movements towards the dominant one, the resolution in the tonic or a
elusive resolution in another harmony. These progressions affect other
aspects of the musical construction as they are the final beginnings and
of phrases, and the structuring of great sections within the compositions.
The end of phrases and sections are constructed by means of cadences.
These can be perfect, in fundamental state (that they finish in the tonic)
or imperfect, in which case they go preceded by the dominant one. In fact,
at many times, different styles and sorts, pitch music has tended to
present/display matched phrases or sections, first half with a end opened
on an imperfect cadence, and second with a end closed on a perfect
cadence. Within the phrases, the points of harmonic change usually agree
with the accentuated times of the compass. In other words: the location of
the harmonic changes is one of the elements that cause that the listener
listens to the alternance regulation of strong and weak times in the
compass. The pitch harmonic progressions produce in the listener the
expectation of certain types of resolutions. In pitch music, the strong
and weak times of the compass are alternated with regularity, which
reinforces these harmonic expectations.
Diatonic and chromatic harmony
The harmonies and progressions that only
contain own notes of a given tonality call diatonic, and chromatic when
they use strange notes to the tonality. The altered notes chromatically,
that is to say, those that do not belong to this tonality, modified chord
with whole numbers as well as individual notes within a chord one. The
chromatic notes, in general, serve to lead one melodic or musical piece
from a tonality to another one. For example, the chord one of V of the
greater tonality of do (that is to say, the chord one of greater sol),
instead of being in favor prepared (preceded) of another chord one of the
greater tonality of do, can be prepared with an chord one of the greater
sol tonality, in which this chord one (V of do) is the tonic. This process
by which an chord one temporarily is treated like a tonic, is called
tabulation. When the tabulation involves a progression of several
harmonies and sufficiently is extended, a new tonic is elevated that in
fact it replaces to previously established. When this happens, there is a
change of tonality, has taken place a modulation.
Dissonant inharmonic and chord the
harmonies are used to serve as support and aid in the design of melodies
in pitch music. A one note melody given can belong to the triad one that
it sounds with her, or can be a strange note to triad happiness. He is
frequent that unfolds of a melodic form of constituent notes of the chord.
Also they can be used for an activity that accelerates the harmonic rate
(the speed of the changes in the harmony). Many of more common the strange
note combinations and triads have become chord habitual. The chord
of seventh (triads with one notice additional in relation of
seventh with respect to the fundamental one: for example, sol-if-re-fa)
they are specially common in this category, as well as those of novena
(triads with two remote additional notes of seventh and ninth one on the
fundamental one: for example, sol-si-re-fa-la). These chord dissonant, as
in the case of the triads, they treat like harmonic units in pitch music.
Nevertheless, in the middle of century XX, many musicians got to consider
them like chord with chord notes added instead of independent like the
triads greater and
smaller. Unlike traditional pitch music, the jazz and the pop music of
century XX use these chord like
basic elements, next to other chord dissonant
like those of eleventh and thirteenth, the triads
with sixth added, chord with chromatic alterations and the
suspended harmonies (chord that maintain a note of the previous harmony
instead of another own one of the chord one of resolution).
The harmonies can appear with all its
together and maintained notes sounding until the following harmony. It
also can happen with other structures, in which the notes are alternated
or they are repeated in different patterns from support, which they are
listened to as a unit (example 2 contains two common patterns of support:
the low Alberti and the low one of waltz).
Musical
Rhythm , aspects of music that deal with on their movement in the time and
the structure this one. In addition to its general meaning, the term
Rhythm usually makes reference to specific temporary facts like the
patterns of lengths of a certain note group. In this article individual
technical terms for these limited meanings are used more.
Pulse and Compass
Like
the Rhythm s in the nature, like the movement of planets, the succession
of the stations or the pulse of the heart, the musical Rhythm
usually is organized in patterns of regular recurrence. These
patrons control the movement of music and help the human ear to
include/understand their structure. Basic the rhythmical unit par
excellence is the pulse, a regularly spaced pattern that looks itself like
the Rhythm of a clock. In
most of the dance music and in the popular one, the pulse appears of
explicit form, often by means of beating of the drums or by means of a
pattern of regular support. In more complex music’s, the pulse is only
implicit; it is a species of common denominator for the lengths of the
notes, that can be longer or short than the same pulse (nevertheless, when
a listener takes the Rhythm with
the foot, the pulse returns to be explicit). So that the pulse can be
heard like common denominator, the lengths of individual notes will
generally be multiple or exact subdivisions (like half or the double of
the duration of the pulse). Tempo of music determines the speed of the
pulse.
As
well as the pulses regulate the durations of some types of short musical
accomplishments like a note or a pair of notes, these as well is regulated
by recurrent units longer calls compasses. The compasses form more
accentuating the first pulse or time of a series of two or, so that they
are grouped in a pattern: for example; ONE two, ONE two, or ONE two three,
ONE two three. The term compass or meter can talk about, in the first
place, to the general process of regular accentuation, and in second, to
the type of used particular metric grouping in a certain work. In the
musical annotation, the compass is indicated by means of a compass armor.
When settling down the compass armors, the figure of the round one was
considered as the value of fundamental note and for that reason the length
of the compass in relation to her were expressed, and value 1 was granted
to him. The number of down in a compass armor represents a value of note
expressed like a fraction of a round one. The number of above shows how
many units of this value of note it has in each compass. For example, one
of the compasses or more common armors is the one of ¹, that indeed means
' four cuRhythm s': the unit of the compass is a black (one fourth part of
the round one) and is four blacks like these by compass. The compasses of
§, " and ¹ represent the all of them same rhythmical value by
compass: the difference is based in the amount of pulses and in the
pattern of accents " it represents two times by compass, with an
accent (in the first time), whereas ¹ indicates four times by compass and
two accents (more hard in the first time and weaker other in third). The
compasses as those of ½ and ¾ are called composed compasses, since each
rhythmical grouping within the compass is composed by a sub-group of
smaller rhythmical values ½ represents two groups of three notes each
one, and ¾ to three groups of three notes, and thus with all. Organized
music metrically very is structured and tends to be to regulate.
Nevertheless, once established the compass, it does not need that there is
a rigid adhesion all along; the mind of the listener will even retain the
pattern when music contradicts it temporarily. For example, a generally
weak time can be accentuated to produce one syncope (an accent that
opeRhythm s against the established compass). In the opposite case, a
strong time can occasionally be suppressed completely. In fact, in
music’s of certain rhythmical complexity always a degree of voltage
between the compass like abstract system of regulation exists, on the one
hand, and, by another one, the rhythmical flow of the lengths of notes - a
flow that sometimes serves as support the compass and that does not happen
in other times. Still more: the pulse does not need to stay with absolute
rigidity; it can be touched rebate, that is to say, with so delicate
variations that they do not destroy the basic value.
Longer Units of Time
As
well as the pulses are grouped in compasses, the compasses are grouped as
well in mayors units. These groups produce the segments of time more
extensive than they determine the form of music. A reason (the melodic
idea shorter than conforms a relative complete musical unit) can have more
of a compass. One or two reasons can be repeated and be varied to form a
phrase (a unit still more prolonged with a more definitive sensation of
end, than corresponds to great outlines to an oration of the spoken
language). The phrases are combined in sections, and the sections in
complete compositions. The musical form is determined by the relations
between these different units from time and also by the relations of these
units with respect to the whole, as well as with respect to the harmonic
schemes on great scale.
Also known by chance music. In her the composer leaves the free selection of interprets certain aspects of the work. Thus he limits himself to indicate, for example if one is an acute sound or he burdens, of arpeggio or staccatto, a silence or a violent noise. The graphic does not correspond to the one of the folk music; the composer bond of mathematical symbols, graphics and geometric figures. But the outstanding representative of random music is John Cage, who reacted with her against the automatism at that serial music had arrived.
The one that leaves from the possibility of creating a new musical art from the sonorous material deposited in the furrow of the disc or the magnetic tape. That is to say, one is to manipulate the sounds recorded in the magnetic tape by means of cuts and collages..
The destined one to a reduced assembly of virtuoso people. Its very perfect form, the quartet of cord, dates from I follow XVIII. The term defines nonscenic nor symphonic music. Their forms would be the sonata, lied, the pair, the third or trio, the quartet or the quintet, etc. His you interpret are not solely groups of virtuosos soloists, but also joint to orchestrate reduced to them, with predominance of the cord (camera orchestras).
The one that illustrates plays (overtures, intervals, musical commentaries to interventions of one or several actors, etc.).
The one that is born tie to musical reasons, subjects or contents extra (literary, pictorial or philosophical). It can describe or suggest personal phenomena of the nature, feelings, etc. Example of this type of music is the symphony Pastoral. of Beethoven. Imitative, descriptive music and picturesque., count on one long tradition that starts of the average age.
Music synthesized by oscillating, generating procedures electronic, such as electrostatic or electromagnetic, photoelectric cells, etc. The signals that these produce correct advisable and, once mixed, they are extended and they reproduced by means of a system of loudspeakers.
The one that, in narrow relation with the technique, is born of the desire to experiment with the sonorous material which they provide the recording systems. It has been in the studies of broadcasting and the laboratories of the phonographic industries where with greater property experiments have been carried out; in France the wireless training center; in Germany the NWDR.
The musical instrument destined one excluding the human voice. I finish defines so much to destined music to one single like a several instruments.
That, unlike the level song is subject to compass or measurement; in strict sense.
The one that is based in the liturgy or texts of religious character. Modernly the composers use themselves forms like the mass, oratorio, motet, passion religious cantata, psalm, antiphon, etc, with a musical criterion but that liturgical.
Created through a system of composition based on the series or the succession of n sounds (all of different frequency) that, by means of mathematical n process of combinatorial, it generates a structure. The serialismo tends to destroy in the composition the phenomenon of the sound of the coordinates (duration, tone), freeing it of melody, harmony and counterpoint.
The destined one to single voices or with instrumental support. In the first case she receives the name of a cappella.. Vocal music account with one releases tradition and a rich history, as much as the nun as the profane one.
It' a long explication, but it's worth it, to understand music. Don't you think?
