The physics of harmony suggests underlying simplicity even in complex harmonies.
Think about this idea as you read this poem: "Figures of Thought", by Howard Nemerov.
Musical excerpts in this chapter, performed by Adam Matlock. In most instances, Adam plays the excerpt twice, the first time at reduced tempo. Page numbers refer to the recommended edition.
How to use excerpts: As you encounter each short musical score in the chapter, stop reading and listen to the excerpt using the videos on this page. Listen more than once if you do not recognize, in the music, the idea that Copland is presenting. Then continue reading.
Excerpts in Chapter 6
Page 50
Score for above; click to enlarge.
Page 51
Score for above; click to enlarge.
Page 52
Score for above; click to enlarge.
Page 54
Score for above; click to enlarge.
Page 55
Score for above; click to enlarge.
Page 56
Score for above; click to enlarge.
Copland's Musical Recommendations for Chapter 6 (harmony)
Old and New: Contrast these two pieces, from 1638 and 1910.
1) Monteverdi—“Hor che’l ciel e la terra” ---- Click for translation of text into English.
2) Schoenberg—Five Pieces for Orchestra
Additional, Chapter 6 (harmony)
• Four Freshman -- Angel Eyes
Dig the unexpected, but entirely harmonious, harmonies.
• Beach Boys -- Good Vibrations
Similar harmonies?
• Main Street -- Pop Songs Medley
Recent songs, old-fashioned harmony.
• 47b Idumea - Second Ireland Sacred Harp Convention, 2012
Example of Sacred Harp, a form of shape-note music. First stanza or verse is sung in solfège (singing the notes with their do-re-mi type names, although the names are a bit different from do-re-me), and then the next stanzas are sung with the words of the hymn. The verb "to sol-fa" means to sing in solfège. at Wikipedia, see Shape note and Sacred Harp.
• HERE is a reading on harmony that gets into more detail about overtones and their relationship with harmony.
• Listen now to Bach's Brandenburg Concerto #2, paying particular attention to the trumpet part (not hard to do). Why did Bach write this part so high in the trumpet range? For a hint, read about the natural trumpet at Wikipedia.
• Finally, here is Leonard Bernstein with a somewhat advanced lesson on the history of harmony. Don't worry if you can't follow the logic, just listen to the different ways the music sounds as time goes by, and harmonic freedom becomes greater.
First, two notes that might help:
1) Click HERE to listen to "Fair Harvard", the song Bernstein uses to display the different harmonies.
2) For more about the "circle of fifths', click "Circle of Fifths Explained" in the right-hand column.
More to Think About
A student asked, "What does "chord sequence" or "chord progression" mean?"
I will answer this question using the progression of chords C, Am, F, and G in the song "Heart and Soul". (If a person can play only one thing on a piano, it is likely to be either "Chopsticks" or "Heart and Soul".)
"Heart and Soul" is in the key of C major, so all "normal" notes in the melody are white keys on the piano. It's not a coincidence that every note in the four chords are on white keys also -- that is, keys of the C major scale. For every melody note on a white key, at least one of those four chords will include that note, and the rest of the chord is in harmony with it, at intervals of 3 or 5. Roughly speaking, chord changes will come at or near the time that a melody note requires a different chord for harmony, that is, when you move from a note that is not on the new chord to one that is.
If you have access to a piano or keyboard instrument of any kind, try singing the song and accompanying yourself with the chords.
To play these chords on a piano, start at middle C, and strike the notes C-E-G (C-major chord, or 1-3-5), then move all fingers down two white keys to play A-C-E (A-minor chord), then down two more to F-A-C (F-major chord), up one to G-B-D (G major chord), then return to C-major. Play the chords as you sing, changing when you reach the word or the pause just below the chord designation. Chord timings are approximate, varying slightly by singing style:
C Am F G
Heart and soul, I fell in love with you
C Am F G
Heart and soul, the way a fool would do
C Am F G C
Madly, that magic night we kissed.
Am F G
Ba-doom ba-doom ba-doom
and on and on and on and on and on
Or instead, try to accompany Bea Wain as she sings.
Test yourself: Can you figure out when to change the chords during the bridge ("Who thought your lips were thrilling...")
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