Unit 14 (2ESO) PEACE LOVE AND HARMONY

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Peace, Love and Harmony.

Contents

1 Peace, Love and Harmony.

UNIT 14 DAY 1 - Atomic Sound, Areas and Gravitation.

Questionnaire (Unit 14 Day 1 - Fifty-Third Lecture)

① Harmony and single notes.
Harmony is based on how the notes sound in relation with other notes.

② Where Harmony can be found?

Within a Tonality of Modality and in Western Music also within a chord progression.

③ Name of the three Tonal Areas.
Tonic, Subdominant and Dominant.

④ How can we create interesting sound-scapes?

By contrasting the stable Area of Tonic to the tension of the Dominant.

Harmony is based on how the notes sound in relation with other notes.

All this happens within a Tonality of Modality and in Western Music also within a chord progression.

As we will see at the end of this unit, this not only happens with pitches, but also with form and rhythms, with ensembles and intensities.

How Music Works with Howard Goodall - 03 - Harmony

There are three tonal areas: tonic, Subdominant and Dominant.

The Subdominant Area is so weak that we can practically reduce the number of Areas to Tonic and Dominant. Or what is the same; stability and tension.

Imagine a system where the gravitational center is in the Tonic. All Music will tend to that note-chord.

If in a composition Tonic is maintained all along, the sound of that Music would tired the ears of the listeners, so it is necessary to create tension. This will produce a relief when Music returns to Tonic and the Dominant part would be the interesting part of the piece.

There are kinds of Music such as chamber and symphonic Music and Jazz that make the Dominant Area the Queen of the sonic adventure.

Hanon Aloud - Exercise 27 (Day 1)

Descending Tetrads with in Suspended Fourths.

C - A - G - D / B - G - F - C / A - F - E - B/ G - E - D - A / F - D - C - G / E - C - B - F/ D - B - A - E

UNIT 14 DAY 2 - Major - Minor relatives and parallelism.

Questionnaire (Unit 14 Day 3 - Fifty-Fourth Lecture)

① Major-Minor parallelism.
Any major chord can have a relative minor and any tonal area can have a parallel with the other two areas.

Each major Tonic has a relative minor and each Major scale has a parallel Minor scale.

This first Minor Relative is what in 'Classical' Music is called Major key and Minor key.

If we extend this concept, any major chord can have a relative minor and any tonal area (based on major chords) can have a parallel with the other two (major or minor).

Happy Sad Songs and Sad Happy Songs

Hanon Aloud - Exercise 27 (Day 2)

Descending Tetrads with in Suspended Fourths.

C - A - G - D / B - G - F - C / A - F - E - B/ G - E - D - A / F - D - C - G / E - C - B - F/ D - B - A - E

UNIT 14 DAY 3 - Modal Complex and Harmonic Progressions.

Questionnaire (Unit 14 Day 3 - Fifty-Fifth Lecture)

① Modal Complex.
There are seven scales and chords originated form each of the notes of the major scale that can be associated to Tonic, Subdominant and Dominant.

② Leading-tone and Dominant modalities.

Every Leading-tone opens another modal complex

③ Functions of the Harmonic Areas.
Music can be written by arranging and shuffling the three Harmonic Areas.

The major scale generates six other major and minor scales. If we extend those scales and chords, we have other modalities that can be associated to Tonic, Subdominant and Dominant.

For every Leading-tone we create to go to an specific chord, we open another modal complex, so this process is an extension of the Tonality, but always within the Dominant Area.

Leading Tone -- Music Minute #43

If music is reduced to three harmonic areas (knowing the weak possition fo the Subdominant area), Music can be written by arranging and shuffling them, having the following permutations:

Tonic-Subdominant

Dominant-Tonic

Subdominant-Tonic

Tonic, Subdominant, And Dominant Chords

Hanon Aloud - Exercise 28 (Day 1)

Ascending Five note Chords with Ninth.

C - E - G - B - D / D - F - A - C - E / E - G - B - D - F / F - A - C - E - G / G - B - D - F - A / A - C - E - G - B/ B - D - F - A - C

UNIT 14 DAY 4 - Harmony for all the elements.

Questionnaire (Unit 14 Day 4 - Fifty-Sixth Lecture)

① Name Music elements that can be harmonious due to their proportions.
The Pitch, the Musical Form, Musical ensembles, intensity and Rhythm.

There is not only harmony on pitches. Any other Music element has proportions and therefore can be harmonious. For example, the Musical Form usually have a number of bars that are multiple of each other.

There is harmony in the way of setting the musical ensembles with instruments that together work better.

More examples of harmony applied to other Musical elements we can find in intensity. Like in any painting, proportion and the range of 'colors' is a key element and Music uses this harmonic proportions to create harmonious layers of sound.

Rhythm is also harmonic. The ratios between the rhythmic figures and the rhythmic 'cells' of a melody are consistent with the structure of the phrase.