MoMC: Balance V

[WattsUrizen]

Symmetry in Harmony

 

Last time I mentioned how symmetry in rhythm can only be reflected around a vertical axis. In a way, harmony is similar in that it can only be reflected around a horizontal axis. I'll mention some general ideas about symmetry in harmony.

 

All chords built of thirds are symmetrical. Thus progressions built from triads, sevenths, ninths in root position are highly symmetrical.

 

Intervallic unity is a useful concept. It involves using a single interval to develop a harmonic idea. So, triads are a simple example of intervallic unity, as are fourth and fifth chords.

 

Inner voices can be used as 'pivots' around which the outer voices move in symmetry, such as parallel or contrary motion. For instance, if we have a central tone C, and the lower voice is (below the C) G A G E F, we could have the upper voice as (above the C) E F E C D - parallel - or E D E G F - contrary.

 

We can also use more abstract notions in rotational symmetry. If you organise the notes of a chord in a field, you can achieve rotational symmetry by rotating the field and creating various chords. For instance, if we had a 2 X 2 field with the notes (left to right, top to bottom) C F# Bb E, we could have Bb C F# E, as well as E F# C Bb.

 

Of course, how well any of the ideas you use fare will depend upon the voice leading. This remains the fundamental idea of harmony, so this should be your primary concern. And of course, the idea again is to use symmetry to create various degrees of continuity/contrast to achieve balance.

[Brian Marshall]

Ok, let me get this straight. If we start our harmony out a third above the leading tone then we should follow it a third above each note of them melody. Maybe use the term parrallel? Let me know if that is not what you are trying to say.

 

I often like to use what i call floating harmonys. I'm sure there is a more technical term. It is basically harmonizing with the chord progression. I find it especially effective if you hang on one note for a long time. For instance if your progression is

 

A D A E

 

You can sing the note "A" over the first three bars and sing a "B" over the last. If you do it above the leading tones it usually gives a little bit of a luny tunes barbar shop quartette sound, which can be really fun, but you can do it below the leading tones too.

 

Brian

[WattsUrizen]

 

Originally posted by Brian Marshall Ok, let me get this straight. If we start our harmony out a third above the leading tone then we should follow it a third above each note of them melody. Maybe use the term parrallel? Let me know if that is not what you are trying to say.

 

 

Well, I don't think you should do anything - I'm just presenting a few ideas. But yes, in parallel motion then the interval between melodies remains constant. For instance the two simultaneous melodies: A C B E and C E D G are in parallel motion.

 

Now, it's important to note that the property of the intervals remaining constant is merely a consequence, not a direct definition. Parallel motion is merely when one melody is a replica (or near enough to remain in key) of another, but in a different register.

 

I often like to use what i call floating harmonys. I'm sure there is a more technical term. It is basically harmonizing with the chord progression. I find it especially effective if you hang on one note for a long time. For instance if your progression is A D A E You can sing the note "A" over the first three bars and sing a "B" over the last. If you do it above the leading tones it usually gives a little bit of a luny tunes barbar shop quartette sound, which can be really fun, but you can do it below the leading tones too. Brian

 

 

It's a little hard for me to say, since I don't know the exact register and chord structures, but it sounds a little like pedal tones.

 

There is also oblique motion in counterpoint, where we have a one note against many texture (all other contrapuntal textures are one for one note texture).