Harmony

P1 | P2 | P3 | P4 | P5 | P6 | P7 | P8 | P9 | P10

This is part of our supplementary section for Grades 6-8

There is a quiz on the final page of this section.

The Dictionary gives the following definitions of the word ‘Harmony’

1. agreement; accord; harmonious relations.
2. a consistent, orderly, or pleasing arrangement of parts; congruity.

3. Musical definitions:
(a) any simultaneous combination of tones.
(b) the simultaneous combination of tones, especially when blended into chords pleasing to the ear; chordal structure, as distinguished from melody and rhythm.
(c) the science of the structure, relations, and practical combination of chords.

Harmony developed gradually through the middle ages and flowered during the renaissance. But it was particularly the great composer J.S. Bach who devised a framework for composition and beautifully showcased it throughout his chorales and other works.

A great deal of the music written since the time of Bach has been based on this 4 part structure using a set of ‘rules’ which composers had to know and fully understand. But it was the breaking and bending of these rules that gave composers their individuality and unique style.

The guidelines and rules below need to be memorized and fully understood before going deeper into the subject. They are set out with the assumption that you would like to write your own 4 part harmony (maybe for a choir or some kind of quartet) or perhaps you wish to write SATB from a given melody (or bass) You may need to review auxiliary notes & cadences in  Grade 5C first.

Guidelines:

• Start in the natural key ‘C major’
• Draft out a chord sequence
• The 1st and last chords will be ‘I’ (C) (The Tonic)
• The opening chords will establish the key e.g. I-V-I
• The final chords will be a ‘finished’ cadence e.g. Perfect (usually but rarely Plagal)
• Phrases may end in cadencies
• Keep ‘inner’ parts close together
• Keep common notes (notes shared by neighbouring chords) in the same part
• Other notes – try to move by step (or smallest interval possible)
• Try to spot standard chord progressions (such as [I Vc Ib] when the melody is Me-Re-Do)

Rules:

• Double the root when possible.
• The fifth can be doubled as the next alternative.
• Avoid doubling the third.
• Always include the third.
• Avoid parallel 5ths or 8vas (and unisons).
• Do not overlap parts.
• Chord II goes to chord V (unless using IIb at a cadential 6/4)
• Never begin on a first inversion chord.
• Beginners must restrict 1st inversions to Ib, IVb & Vb.
• Avoid 1st inversion chords at cadences.
• Leading note must always rise to the tonic.
• Sharpen the leading note (Te-VII) in the minor key.
• The 7th in the dominant 7th chord (V7) resolves by falling one step.
• Try to avoid the awkward interval from the 6th note to the 7th note in the minor key (harmonic minor scale).

Below are a selection of videos from Howard Goodhall’s excellent BBC series ‘How Music Works’ These five videos are about harmony. If you like them, visit our page and watch the whole series.