Shopping on line can be easy, simple and save you lots of money. It can also take a lot of your time, frustrate you, and result in unwanted purchases. Now the same can be said for regular high street shopping, but with the vast opportunity presented by the Internet it will pay you to spend a few minutes reading this and understanding how to better optimize your Harmony shopping experience:

1. Compare - without doubt the biggest advantage that the Harmony offers shoppers today is the ability to compare thousands of Harmony at a time. This is a great thing, but not necessarily all the time! Too much can be daunting at times so take advantage of the great comparison sites and where possible let them do the hard work for you.

2. Research - if it has been said it will be on the internet. Ignorance is no longer a justifiable reason for buying the wrong thing. Take the time to research in detail everything that you could possible want to know about

3. Testimonials - don't know anybody that has bought a Harmony? Wrong! If the Harmony is good the internet will let you know. Use the Internet as a friend and get testimonials before you buy.

4. Questions - Got a question about Harmony then search the Forums, FAQ's, Blogs etc. Don't be afraid to ask .....

5. Reputation - Never heard of the company selling Harmony? Don't worry, no reason why you should know every company in the world, but you know someone that does! Use the internet to find out what people are saying about Harmony and build up a picture of their reputation for sales, returns, customer service, delivery etc.

6. Returns - still worried that even after all of the above your Harmony wont be what you want? Check out the returns policy. There is so much competition now that someone, somewhere is bound to offer the terms that you are comfortable with.

7. Feedback - happy with your Harmony then let people know, after all you are depending on others people input in your buying decision, so why not give a little back.

8. Security - check for the yellow padlock on the Harmony site before you buy, and the s after http:/ /i.e. https:// = a secure site

9. Contact - got a question about Harmony, or want to leave a comment then check out the sites contact page. Reputable companies have them and respond.

10. Payment - ready to pay for your Harmony, then use your credit card or PayPal! Be aware of companies that don't accept them, there may be genuine reasons but given the huge amount of choice you have when buying online there is no reason at all not to buy via credit card or PayPal.

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

In Western music, harmony is the use and study of Simultaneity (music), and therefore chord (music)s, actual or implied, in music. The study of harmony may often refer to the study of harmonic progressions, the movement from one pitch simultaneity to another, and the structural principles that govern such progressions. In Classical Music, harmony often refers to the "vertical" aspects of music, distinguished from ideas of melody, or the "horizontal" aspect. For this reason, considerations of counterpoint or polyphony are often distinguished from those of harmony, though contrapuntal writing of the common practice period of western music is often conceived and defined in terms of underlying harmonic motion. Legato= smooth and flows together.

Origin of term, and history of use The term harmony originates in the Greek Harmonia (mythology), meaning "joint, agreement, concord" '1. Harmony' The Concise Oxford Dictionary of English Etymology in English Language Reference, accessed via Oxford Reference Online (24th February 2007). . In Ancient Greek music, the term was used to define the combination of contrasted elements: a higher and lower note.

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 unnatural properties such as 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. Many pieces from the baroque music period for solo string instruments, such as Bach's Sonatas and partitas for solo violin, convey subtle harmony through inference rather than full chordal structures; see below:

Cello Suite no. 1 in G, BWV 1007, bar 1.

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.

Other types of harmony are based upon the intervals used in constructing the chords used in that harmony. Most chords used in western music are based on "tertial" harmony, or chords built with the interval of thirds. In the chord C Major7, C-E is a major third; E-G is a minor third; and G to B is a major third. Other types of harmony consist of quartal harmony and quintal harmony.

Intervals An interval is the relationship between two separate musical pitches. For example, in the melody "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.

The following are common intervals:

{| class="wikitable"|-! Root! Third! Minor third! Fifth|-| C| E| Eb| G|-| Db| 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#|}

Therefore, the combination of notes with their specific intervals - a chord - creates 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:

{| class="wikitable"|-! 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.

Chords & 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 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, elevenths, and thirteenths. In jazz, chords can become very complex with several tensions.

Typically, a dissonant chord (chord with a tension) will "resolve" to a consonant chord.A good harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between "tension" and "relax" moments. Because of this reason, usually tensions are 'prepared' and then 'resolved'.

Preparing a tension means to place a series of consonant chords that lead smoothly to the dissonant chord. In this way the composer ensures to build up the tension of the piece smoothly, without disturbing the listener. Once the piece reaches it's sub-climax, the listener needs a moment of relaxation to clear up the tension, which is obtained by playing a consonant chord that resolves the tensions of the previous chords. The clearing of this tension usually produces pleasure in the listener.

Consonant/Dissonant Sound Balance Harmony is complex in the way that you can not ensure a listener's likeness by just using consonant sounds as the piece may result not interesting and too simple. However, the excess of tension moments that require relaxation may disturb the listener.

Contemporary music has evolved in the way that tensions are less prepared and less structured than in Baroque Music or Classical Music periods, thus producing new styles such as Jazz and Blues, where tensions are usually not prepared.

Part harmonies In vocal music, the four basic "parts" are soprano, alto, tenor, and Bass (vocal range). A chord may be spread across parts in order to provide harmony. For example, a vocal piece's harmony may be constructed by the following:



See also

Further reading

References

External links

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

In Western music, harmony is the use and study of Simultaneity (music), and therefore chord (music)s, actual or implied, in music. The study of harmony may often refer to the study of harmonic progressions, the movement from one pitch simultaneity to another, and the structural principles that govern such progressions. In Classical Music, harmony often refers to the "vertical" aspects of music, distinguished from ideas of melody, or the "horizontal" aspect. For this reason, considerations of counterpoint or polyphony are often distinguished from those of harmony, though contrapuntal writing of the common practice period of western music is often conceived and defined in terms of underlying harmonic motion. Legato= smooth and flows together.

Origin of term, and history of use The term harmony originates in the Greek Harmonia (mythology), meaning "joint, agreement, concord" '1. Harmony' The Concise Oxford Dictionary of English Etymology in English Language Reference, accessed via Oxford Reference Online (24th February 2007). . In Ancient Greek music, the term was used to define the combination of contrasted elements: a higher and lower note.

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 unnatural properties such as 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. Many pieces from the baroque music period for solo string instruments, such as Bach's Sonatas and partitas for solo violin, convey subtle harmony through inference rather than full chordal structures; see below:

Cello Suite no. 1 in G, BWV 1007, bar 1.

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.

Other types of harmony are based upon the intervals used in constructing the chords used in that harmony. Most chords used in western music are based on "tertial" harmony, or chords built with the interval of thirds. In the chord C Major7, C-E is a major third; E-G is a minor third; and G to B is a major third. Other types of harmony consist of quartal harmony and quintal harmony.

Intervals An interval is the relationship between two separate musical pitches. For example, in the melody "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.

The following are common intervals:

{| class="wikitable"|-! Root! Third! Minor third! Fifth|-| C| E| Eb| G|-| Db| 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#|}

Therefore, the combination of notes with their specific intervals - a chord - creates 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:

{| class="wikitable"|-! 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.

Chords & 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 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, elevenths, and thirteenths. In jazz, chords can become very complex with several tensions.

Typically, a dissonant chord (chord with a tension) will "resolve" to a consonant chord.A good harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between "tension" and "relax" moments. Because of this reason, usually tensions are 'prepared' and then 'resolved'.

Preparing a tension means to place a series of consonant chords that lead smoothly to the dissonant chord. In this way the composer ensures to build up the tension of the piece smoothly, without disturbing the listener. Once the piece reaches it's sub-climax, the listener needs a moment of relaxation to clear up the tension, which is obtained by playing a consonant chord that resolves the tensions of the previous chords. The clearing of this tension usually produces pleasure in the listener.

Consonant/Dissonant Sound Balance Harmony is complex in the way that you can not ensure a listener's likeness by just using consonant sounds as the piece may result not interesting and too simple. However, the excess of tension moments that require relaxation may disturb the listener.

Contemporary music has evolved in the way that tensions are less prepared and less structured than in Baroque Music or Classical Music periods, thus producing new styles such as Jazz and Blues, where tensions are usually not prepared.

Part harmonies In vocal music, the four basic "parts" are soprano, alto, tenor, and Bass (vocal range). A chord may be spread across parts in order to provide harmony. For example, a vocal piece's harmony may be constructed by the following:



See also

Further reading

References

External links



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