Let's talk about Harmony
Congratulations to all who won a promotional code for my book, The HOME Recordings: Strategies for Certified Therapeutic Musicians, at the 2024 Somerset Folk Harp Festival. Many thanks to those who sent in reflections on their favorite passages from my book, and ideas about what you would like to see covered in future editions. I am overwhelmed by the positive response, and grateful that others are finding my work helpful.
A few of you mentioned that you would like to see more about harmony at the bedside. I had actually written part of a chapter on harmony, which was struck during one of the edits (we thought it was repetitive), so I will include it here for those readers -- thank you for asking! Perhaps it needs to be restored in future editions:
Harmony in music refers to the combination of simultaneously sounded musical notes to produce chords and chord progressions that are pleasing to the ear. It involves the use of different pitches, or chords, played together in a way that is musically effective. Key elements of harmony include chords, which are groups of notes played together, and chord progressions, which are sequences of chords that create a sense of movement and structure in the music. Harmony also encompasses the concepts of consonance and dissonance; consonance refers to chords or intervals that sound stable and pleasant, while dissonance creates tension and a desire for resolution. Additionally, voice leading, the smooth movement of individual notes or voices from one chord to another, is an important aspect of harmony. Broadly, harmony refers to the overall structure and relationship between different musical lines and parts within a composition.
The use of harmony in therapeutic music involves creating a soothing and healing sound environment that promotes relaxation, reduces stress, and supports emotional and physical healing. This is achieved through the careful selection of harmonic structures that maximize therapeutic effects. Consonant intervals, such as thirds, sixths, and perfect fifths, are used to create stability and peace. Gentle and predictable chord progressions help maintain a sense of calm, while modal harmonies, like Dorian and Mixolydian, offer distinct yet soothing qualities. Minor keys can evoke introspection and emotional release, which can be therapeutic for some listeners. Dynamic harmony, with varying intensity and complexity, helps mirror and support the listener’s emotional state, and CTMs often improvise based on the listener’s responses.
The structure of harmony in therapeutic music (on the harp) includes simple chord structures like triads and open voicings to create a clear, uncluttered sound, often played as arpeggios for a flowing, meditative quality. Repetitive harmonic patterns, such as ostinatos and pedal points, provide a stable foundation, while frequent plagal and authentic cadences reinforce a sense of resolution and security. The harmonic rhythm is typically slow, allowing each harmony to resonate fully, and sustained chords create a continuous, enveloping sound. Non-diatonic chords and ambiguous tonality are sometimes used to create a sense of mystery or otherworldliness, maintaining a serene atmosphere.
Practical application on the harp involves soft dynamics and finger techniques that produce a gentle, velvety sound, with glissandos used to create cascading, wave-like effects. The harp can be tuned to natural scales, such as just intonation, for purer harmonies, and modal modulations or lever or pedal adjustments are made to shift keys or modes smoothly, allowing for seamless modulation and variation in harmony. The use and structure of harmony in therapeutic harp music are designed to create a calming and healing soundscape that effectively supports emotional and physical well-being.
Adding harmonies during improvisation on the harp in a therapeutic setting requires attentiveness to the listener's emotional state and a fluid approach to music-making. When improvising, start by establishing a simple melodic theme in a key such as C major, then introduce harmonies that follow the natural progression of the melody. For example, if your improvisation begins with the notes C, D, E, you might harmonize these notes with thirds: E, F, G respectively. This creates a consonant and pleasing sound. As you continue, watch for the listener’s responses and adjust your harmonies to reflect their emotional or physical needs. If a more soothing atmosphere is required, use softer dynamics and incorporate more consonant intervals like perfect fifths (C and G) or octaves (C and the higher C).
Modal harmonies offer a unique and rich palette for improvisation, providing variety while maintaining a soothing quality. For example, improvising in the Dorian mode (D, E, F, G, A, B, C in the key of C) instead of a traditional minor scale adds a slightly brighter feel due to the raised sixth (B instead of B-flat). Begin with a simple melody such as D, E, F, and harmonize using notes from the Dorian scale. If your melody note is D, you can harmonize it with F and A to form a D minor chord, which fits naturally within the Dorian mode. To further explore modal harmony, shift to the Mixolydian mode (G, A, B, C, D, E, F in the key of C) which features a major scale with a lowered seventh. If improvising in G Mixolydian, a melody line like G, A, B can be harmonized with G, B, and D (G major chord), then adding an F to form a G7 chord, providing a sense of tension and resolution.
As you develop your improvisation, consider integrating chordal and arpeggiated harmonies. For instance, if improvising a melody in A minor, use A minor arpeggios (A, C, E for more fragile patients or A, E, A for a more open chord structure) to create a flowing accompaniment. Incorporate sustained harmonies by holding the tonic (A) while playing the melody, ensuring a grounding and stable sound. Additionally, experiment with modal interchange to add depth. Borrow chords from parallel modes, *explained in the next section, such as using a D major chord (from A Mixolydian) in an A minor improvisation to introduce a fresh and unexpected harmonic color.
During improvisation, pay attention to the voice leading to maintain smooth transitions between harmonies. If moving from an A minor chord (A, C, E) to a D minor chord (D, F, A), ensure that the movement between these notes is minimal and smooth, enhancing the cohesiveness of the harmonic progression. Improvising with counter-melodies can also enrich the harmonic texture. If the main melody is ascending with the notes C, D, E, create a counter-melody that descends, such as E, D, C, providing a harmonic and melodic balance.
By combining these techniques—attentive improvisation, modal harmony exploration, arpeggiation, sustained notes, smooth voice leading, and counter-melody creation—a CTM can effectively add harmonies during improvisation. This approach not only enriches the musical texture but also enhances the therapeutic impact by creating a responsive and supportive sound environment.
*Using parallel chords when adding harmony to a modal improvisation on the harp can create a cohesive and captivating sound that emphasizes the unique qualities of the chosen mode. Parallel chords involve moving a chord shape up or down the scale without changing its internal structure, preserving the same intervallic relationships.
For example, let's consider improvising in the Dorian mode, which in D Dorian consists of the notes D, E, F, G, A, B, and C. Start with a simple melodic line like D, E, F. To harmonize this using parallel chords, you could use minor triads based on each note. For the note D, play a D minor chord (D, F, A). As the melody moves to E, shift the entire chord shape up to form an E minor chord (E, G, B). Moving to F, the chord becomes F major (F, A, C), maintaining the same structure but transposing it according to the scale. This movement creates a series of parallel minor and major chords that preserve the mode's character.
In the context of the Mixolydian mode, such as G Mixolydian (G, A, B, C, D, E, F), if your melody line is G, A, B, harmonize using parallel major chords. Begin with a G major chord (G, B, D) for the note G. When the melody moves to A, shift the chord shape up to A minor (A, C, E), then to B minor (B, D, F#) as the melody reaches B. These parallel chords emphasize the Mixolydian mode’s lowered seventh (F instead of F#), maintaining the modal flavor while providing a rich harmonic background.
Using parallel chords in improvisation also allows for smooth voice leading, as the internal structure of the chords remains consistent while shifting up or down the scale. This technique ensures that the harmonic progression feels natural and fluid. For example, in the A Aeolian mode (A, B, C, D, E, F, G), if your melody notes are A, B, C, you can harmonize with A minor (A, C, E), B diminished (B, D, F), and C major (C, E, G), moving these triads in parallel motion up the scale.
Additionally, parallel chords can create a sense of movement and continuity in the music. In C Lydian mode (C, D, E, F#, G, A, B), if the melody line is C, D, E, use parallel major chords: C major (C, E, G), D major (D, F#, A), and E major (E, G#, B). This approach highlights the Lydian mode’s sharp fourth (F#), adding a bright and expansive quality to the improvisation.
By utilizing parallel chords in modal improvisation, CTMs can maintain the unique tonal characteristics of each mode while creating harmonious and flowing accompaniments. This technique enriches the texture of the music and enhances its therapeutic potential, providing listeners with a consistent and engaging harmonic framework.
Adding harmony within the melody for a harp therapist playing therapeutic music involves several techniques to ensure the music remains soothing and supportive.
1. Understanding the Melody:
- Identify Key and Scale: Determine the key and scale of the melody to understand the harmonic context.
- Analyze Melody Notes: Look at the melody's notes to see where harmonies can be added without disrupting the flow.
2. Using Chord Tones:
- Harmonize with Triads: Use notes from the corresponding triads (root, third, fifth) to harmonize the melody. For example, if the melody note is a C, you can harmonize it with an E and a G for a C major chord.
- Simple Intervals: Start by adding simple intervals like thirds and sixths above or below the melody note. These are consonant and blend well with the melody.
3. Creating Arpeggios:
- Arpeggiating Chords: Instead of playing full chords, break them into arpeggios (playing the notes of the chord in sequence). This creates a flowing, gentle harmonic accompaniment.
- Alternate Arpeggios and Melody: Alternate between playing the melody and arpeggiating the accompanying chords to maintain a balanced texture.
4. Utilizing Pedal Points:
- Sustained Bass Notes: Use sustained bass notes or pedal points to provide a harmonic foundation while playing the melody above. This can create a sense of continuity and stability.
- Drones: Consider using drone notes, typically the tonic or dominant, to add a harmonic underpinning without overwhelming the melody.
5. Voice Leading and Counterpoint:
- Smooth Transitions: Ensure smooth voice leading by moving from one harmony to another with minimal movement between notes. This helps maintain a cohesive sound.
- Counter-Melodies: Add simple counter-melodies or harmonic lines that complement the main melody without competing with it.
6. Modal Harmony:
- Modal Interchange: Incorporate modal harmony by borrowing chords from parallel modes. For instance, use chords from the Dorian mode if the piece is in a minor key.
- Modal Scales: Use modal scales to create harmonies that have a distinct yet soothing quality.
7. Dynamics and Articulation:
- Soft Dynamics: Play harmonies softly to ensure they support rather than overshadow the melody.
- Gentle Touch: Use a gentle touch and smooth articulation to keep the music flowing and serene.
8. Improvisation:
- Responsive Playing: Improvise harmonies based on the listener’s responses and the therapeutic context. Adjust harmonies to match the emotional state and needs of the listener.
- Fluidity: Allow for flexibility in harmony, making real-time adjustments to maintain a therapeutic atmosphere.
Practical Steps for Adding Harmony:
1. Start Simple: Begin with basic intervals (thirds, sixths) and simple triads to harmonize the melody.
2. Experiment with Arpeggios: Play the melody while arpeggiating the accompanying chords.
3. Use Pedal Points: Add sustained bass notes or drones to provide harmonic support.
4. Practice Voice Leading: Ensure smooth transitions between harmonies.
5. Explore Modal Harmonies: Integrate modal scales and harmonies to add variety and depth.
6. Improvise: Adjust harmonies based on the therapeutic needs and responses of the listener.
By following these steps and techniques, a harp therapist can effectively add harmony to the melody, creating a rich, supportive, and therapeutic musical experience.
Please remember that the above passages are part of an edition of the book The HOME Recordings: Strategies for Certified Therapeutic Musicians, ISBN: 9798218312145 and are protected by copyright. Please enjoy, but refrain from portraying passages or images as your own original work, or reproduce without written permission from the author.
Outline of Book Passage for Therapeutic Music Training Students:
1. Definition of Harmony:
- Concept: Combination of simultaneously sounded musical notes to produce pleasing chords and chord progressions.
- Music Theory: Use of different pitches or chords played together musically.
2. Key Elements of Harmony:
- Chords: Groups of notes played together (e.g., major, minor, diminished, augmented).
- Chord Progressions: Sequences of chords creating movement and structure.
- Consonance and Dissonance:
- Consonance: Stable and pleasant-sounding intervals.
- Dissonance: Creates tension and desire for resolution.
- Voice Leading: Smooth transition of notes or voices between chords.
3. Broader Sense of Harmony:
- Overall structure and relationships between different musical lines and parts in a composition.
4. Start with the Basics:
- Intervals as building blocks.
- Explore triads and seventh chords, starting with major and minor.
- Chord Construction:
- Explore root, third, and fifth notes of a scale.
- Explore major and minor chords.
- Chord Progressions:
- Look for common progressions within curriculum (e.g., I-IV-V-I).
- Explore functional harmony roles (tonic, dominant, subdominant).
- Voice Leading:
- Explore smooth transitions and avoid parallel fifths/octaves.
- Ear Training:
- Find ways to develop ability to identify intervals and chords by ear.
- Encourage singing and playing intervals and chords.
- Analyze Music:
- Analyze music scores for harmony usage.
- Identify chord progressions in various genres.
- Composition and Improvisation:
- Create and harmonize own chord progressions.
- Encourage improvisation with learned chords.
- Use Technology:
- Utilize music theory software and apps.
- Regular Practice:
- Maintain consistent practice of harmony exercises.
5. Harmony in Therapeutic Music on the Harp:
- Promoting Relaxation and Calmness:
- Use consonant intervals (e.g., thirds, sixths, perfect fifths).
- Employ gentle, predictable chord progressions.
- Creating a Healing Environment:
- Use modal harmonies (e.g., Dorian, Mixolydian) for soothing qualities.
- Employ minor keys for emotional introspection.
- Supporting Emotional Expression:
- Use dynamic harmony to mirror and validate emotions.
- Improvise based on listener responses.
6. Structure of Harmony in Therapeutic Music:
- Simple Chord Structures:
- Use triads and open voicings.
- Play chords as arpeggios for a meditative quality.
- Repetitive Patterns:
- Use ostinatos and pedal points for stability.
- Apply cadences (e.g., plagal, authentic) for resolution.
- Harmonic Rhythm:
- Slow harmonic rhythm and sustained chords for a continuous sound.
- Modal and Tonal Ambiguity:
- Occasionally use non-diatonic chords and ambiguous tonality for a serene atmosphere.
7. Practical Application on the Harp:
- Finger Techniques:
- Use soft dynamics and gentle touch.
- Utilize slow glissandos for relaxing, cascading effects.
- Tuning:
- Tune to natural scales (e.g., just intonation) for purer harmonies.
- Adjust levers/pedals for smooth key shifts.
8. Adding Harmony Within Melody:
- Understanding the Melody:
- Identify key and scale; analyze melody notes.
- Using Chord Tones:
- Harmonize with triads and simple intervals (e.g., thirds, sixths).
- Creating Arpeggios:
- Use arpeggios for a flowing accompaniment.
- Utilizing Pedal Points:
- Use sustained bass notes and drones.
- Voice Leading and Counterpoint:
- Ensure smooth transitions and add counter-melodies.
- Modal Harmony:
- Incorporate modal scales and harmonies for variety.
- Dynamics and Articulation:
- Play harmonies softly and use gentle touch.
- Improvisation:
- Adjust harmonies based on listener responses and therapeutic context.
9. Parallel Chords in Modal Improvisation:
- Concept: Moving a chord shape up or down the scale, preserving the internal structure.
- Example in Dorian Mode:
- Use parallel minor and major triads (e.g., D minor, E minor, F major).
- Example in Mixolydian Mode:
- Use parallel major chords (e.g., G major, A minor, B minor).
- Example in Aeolian Mode:
- Use parallel minor and diminished chords (e.g., A minor, B diminished, C major).
- Example in Lydian Mode:
- Use parallel major chords (e.g., C major, D major, E major).
