Let's talk about Harmony

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 chords that highlight the mode’s unique character. Begin with a G major chord (G, B, D) for the note G. When the melody moves to A, try an F major chord (F, A, C) to emphasize the lowered seventh. For the note B, use a G major chord in first inversion (B, D, G) to maintain smooth voice leading and further reinforce the modal flavor. Avoid using chords or notes that include F#—such as B minor (B, D, F#)—because F# is the major seventh of the G major scale, and its inclusion can shift the harmonic context back toward the Ionian mode (standard major scale). This undermines the Mixolydian identity, which relies on the lowered seventh (F) as a defining feature. Keeping F prominent instead of F# ensures the harmony stays firmly rooted in the Mixolydian sound, preserving its distinct modal quality.

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 chords that stay within the scale: C major (C, E, G), D major (D, F#, A), and E minor (E, G, B). E minor is a natural choice because it fits the Lydian scale perfectly, but you can also experiment with E minor add F# (E, G, B, F#) to highlight the mode’s distinctive sharp fourth (F#) or even E7 (E, G, B, D) for added tension. Avoid E major (E, G#, B), as it includes G#, which falls outside the C Lydian scale and disrupts the modal flavor. By emphasizing the sharp fourth and avoiding chromatic alterations, this approach ensures the harmony remains bright, expansive, and true to the Lydian sound.

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.