What is harmony in the human. This is one way to calm down

from the Greek. harmonia - connection, harmony, proportionality) - proportionality of parts, fusion of various components of the system into a single organic whole. G. is a dynamic balanced result of the qualitative difference and opposition of the elements that make up a stable integrity. The opposite of G. is chaos, disharmony, in which this integrity is absent, where individual parts do not agree with each other and do not make up a balanced whole. G. is an important characteristic of social interaction and interaction of substructures of the human psyche. Violation of this G. creates conditions for the emergence of social and intrapersonal conflicts. For thousands of years, people have understood the importance of the problem of G. social relations and are trying to somehow solve it. However, the absolute number of people killed and maimed as a result of social conflict and suicide is growing rapidly from century to century. According to the UN, in 1994, 400 million people lived from hand to mouth. In 2004, there were already 800 million such people. At the same time, mankind produces enough food for the normal nutrition of the entire population of the Earth. G. and conflict are extreme types of social interaction that limit its entire spectrum with t. Sp. perfection. It is difficult to understand the essence and causes of conflicts without understanding the essence and conditions for achieving G. in social relations. Therefore, the study of G.'s criteria, its evolution, conditions and methods of achievement is an important direction in the activity of conflictologists.

HARMONY (CARE OF ...)

Thus, we denote a concept approximately corresponding to Erickson's matching, Bandler and Griever's pacing, and Weitzenhoffer's Iappariement.

In a good hypnotic trance, it is important to be in harmony with the patient, since the patient, unable to analyze what is happening, will be sensitive to the quality of the interaction. This attitude will help develop the detachment on which hypnosis depends.

Therefore, in our hypnotic exercises, we require students to:

Make the most of the words, expressions and images that the patient used when reporting his anamnesis, and which in a certain way reflect his world. Interaction also facilitates the choice of communication channels preferred by the patient;

Himself to take a position similar to that of the patient, since the pose is always associated with experience and emotions;

Breathe in sync with the patient, as this is a way to exist in the same rhythm with him. To do this, it is enough to speak at the moment when the patient exhales.

Harmony is one of the forms of beauty, a concept that means the ordering of diversity, integrity, which has the consistency of parts and the balance of their tension.

Historical sketch

The word "harmony" is found in Homer's Iliad and Odyssey.

The philosophical interpretation of harmony (without the word "harmony" itself) among the Greeks was first noted by Heraclitus (first half of the 5th century BC):

Syllables: voiced and non-voiced [letters], dissonant consonant, dissonant consonant, one of all, all of one.

The author of the treatise "On the World", known as Pseudo-Aristotle (1st century BC), relying on Heraclitus, found the agreement of opposites in all natural entities, in the activities (occupations, "art") of man and in the Universe itself:

Nature is attracted to opposites, and from them, and not from the like, forms a consonant (ancient Greek. τὸ σύμφωνον ). So, she brought a man with a woman, and not with a same-sex creature (as well as a woman) and combined the first consent from opposite, not similar creatures. It seems that art (ancient Greek. τέχνη ), imitating nature, does the same. Painting, mixing white and black, yellow and red colors, creates images that match the originals. Music, mixing simultaneously high and low, long and short sounds in different voices, creates a single harmony (ancient Greek. ἁρμονίαν ). Grammar, by mixing vowels and consonants, made up of them all [verbal] art.<...>So the entire universe, that is, heaven and earth, and the entire cosmos as a whole, was ordered by a single harmony through a mixture of opposite principles.

This understanding of harmony among the Greeks was widespread - especially among the Pythagoreans (and Neopythagoreans). For example, in the treatise "Arithmetic" by Nicomachus of Gerasa (2nd century AD):

Harmony is always born from opposites, because harmony is the unity of many-mixed [entities] and the agreement of disagreements (ancient Greek. Ἁρμονία δὲ πάντως ἐξ ἐναντίων γίνεται· ἔστι γὰρ ἁρμονία πολυμιγέων ἕνωσις καὶ δίχα φρονεόντων συμφρόνησις ).

Nic. Arithm. II, 19

In Latin science, the same definition is first recorded in Boethius' Arithmetic (c. 500):

Everything that consists of opposites is connected by a certain harmony and is built with its help, because harmony is the unity of many and the agreement of disagreements (lat. Est enim armonia plurimorum adunatio et dissentientium consensio ).

Boeth. Arithm. II, 32

In the classic artistic literature, harmony (without the word itself) was described as concordia discors(literally "dissenting agreement") in Horace (in the Epistles, 23-20 BC) and Lucan (Civil War, 48-65 AD):

Cum tu inter scabiem tantam et contagia lucri
Nil parvum sapias et adhuc sublimia cures:
Quae mare conpescant causae, quid temperet annum,
Stellae sponte sua iussaene vagentur et errent,
Quid premat obscurum lunae, quid proferat orbem,
Quid velit et possit rerum concordia discors,
Empedocles an Stertinium deliret acumen.

Horat. Epist. I, 12

Temporis angusti mansit concordia discors
Paxque fuit non sponte ducum<…>

Lucan. Bell. civ. I, vers. 98-99

Since antiquity, harmony (without the word itself) has been described not only as concordia discors, but also in inversion, as discordia concors, for example, in Astronomy by Mark Manilius (1st century AD). The four elements of the universe

… Faciuntque deum per quattuor artus
Et mundi struxere globum prohibentque requiri
Ultra se quicquam, cum per se cuncta crearint:
Frigida nec calidis desint aut umida siccis,
Spiritus aut solidis, sitque haec discordia concors
Quae nexus habilis et opus generabile fingit
Atque omnis partus elementa capacia reddit:
Semper erit pugna ingeniis, dubiumque manebit
Quod latet et tantum supra est hominemque deumque.

Manilius. Astronomica, I.137-146

In the era of the Middle Ages, the Renaissance and the Baroque, harmony continued to be described by those other clichés - and how concordia discors, And How discordia concors... For example, on the frontispiece of F. Gafuri's treatise "Labor on the Harmony of Musical Instruments" (1518), the author is depicted at the department, broadcasting to the students the "ancient truth" about harmony, in the second (inverted) formulation: Harmonia est discordia concors(For a digital facsimile of the frontispiece, see Gafuri's article). The same formulation in A. Bancieri's epistolary "Letters of Harmony" (1628, p. 131) is accompanied by an engraving designed to symbolically illustrate the application of this aesthetic principle to music (see digital facsimile).

In a transformed form, the idea of ​​harmony continued to exist in the new philosophy of Shaftesbury, Kepler, Giordano Bruno, Leibniz and in German idealism. Goethe's pedagogical ideal, as he expresses it in "Wilhelm Meister", was "the education of harmoniously free humanity", the development of all valuable human abilities into a wonderful balance. For Goethe, nature was a large organism, in which the harmony of power and boundaries, arbitrariness and law, freedom and measure, a mobile order, merits and demerits reigned (Metamorphosis of Animals, 1819).

Harmony in music

Since antiquity, musical harmony has been directly derived from the general (philosophical and aesthetic) concept of harmony - among the Greeks, see, for example, the third book of Ptolemy's "Harmonics" (especially Chapter 3), among the Latins, for example, the first book of the fundamental work "Fundamentals of Music "Boethius. The term "harmony" (ancient Greek. ἁρμονία ) in the Platonic-Pythagorean tradition, the types of the octave were also designated as an interval containing all pitch differences (hence the original name of the octave - Old Greek. διὰ πασῶν , "Through everything").

In the Middle Ages, in the famous treatise of Pseudo-Huckbald "Musica enchiriadis" (IX century) "consonant difference" (diversitas concors) is presented as a fundamental basis musical the integrity of the tetrachord, the sounds of which encompass the whole variety of monodic modes (more precisely, their finalis). The action of the fundamental principle in the same source extends to the polyphony of "diaphony" (organum), which is defined as "according to the different-sounding harmony" (concentus concorditer dissonus). The definition of musical harmony as a “harmonious union of different voices” (with variations) is another cliché in many medieval musical treatises. Another popular definition of musical harmony was given in the 7th century. Isidore of Seville: "Harmony is a proportional movement of the voice, coordination, or coherence, of different sounds [melody]." It is characteristic that in these definitions the harmony "different / different" does not mean simultaneity of taking sounds of different heights, i.e. the definition of musical harmony has nothing to do with texture (with how many voices sound in simultaneity).

The tradition of extrapolating "ontological" harmony to musical harmony was held in Europe for a long time in subsequent times - throughout the Renaissance and (especially) in the Baroque era; for example, in the "Synopsis of New Music" - Johann Lippius, in "Universal Musurgy" - A. Kircher, in "Universal Harmony" - M. Mersenne and many other musicians, philosophers, theologians and writers of a different kind.

see also

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Literature

• V.P. Shestakov Harmony as an aesthetic category. Moscow, 1973.
• Makhov A.E. Musica literaria: The Idea of ​​Verbal Music in European Poetics. M .: Intrada, 2005.
• Flotzinger R. Harmonie: um einen kulturellen Grundbegriff. Wien, 2016. ISBN 978-3-205-78556-9.

Links

Excerpt from Harmony

I informed him about it. Please inspire Leppiha to pay close attention to the place where he will descend for the first time, so as not to make a mistake and not fall into the hands of the enemy. It is necessary that he understands his movements with the movements of the commander-in-chief.]
Returning home from Vorontsov and passing through Bolotnaya Square, Pierre saw a crowd at the Execution Ground, stopped and got off the droshky. It was the execution of a French chef accused of espionage. The execution had just ended, and the executioner was untied from the mare a piteously groaning fat man with red sideburns, in blue stockings and a green jacket. Another criminal, thin and pale, was standing there. Both, judging by their faces, were French. With a frightened, sickly look similar to that of a thin Frenchman, Pierre pushed his way through the crowd.
- What is it? Who? For what? He asked. But the attention of the crowd - officials, burghers, merchants, peasants, women in cloaks and fur coats - was so eagerly focused on what was happening in Execution Ground that no one answered him. The fat man got up, frowning, shrugged his shoulders and, obviously wishing to express firmness, began to put on a doublet without looking around him; but suddenly his lips trembled, and he began to cry, angry with himself, like grown sanguine people cry. The crowd began to speak loudly, as it seemed to Pierre, in order to drown out the feeling of pity in itself.
- Someone's princely cook ...
“That, musia, it’s obvious that the Frenchman had a sour taste of Russian sauce… he made him sore,” said the wrinkled clerk, who was standing beside Pierre, while the Frenchman began to cry. The clerk looked around him, apparently expecting an assessment of his joke. Some laughed, some continued to look in dismay at the executioner, who was undressing the other.
Pierre sniffled, winced, and, turning quickly, walked back to the droshky, not ceasing to mutter something to himself as he walked and sat down. During the journey he shuddered several times and cried out so loudly that the coachman asked him:
- What do you want?
- Where are you going? - Pierre shouted at the coachman who was leaving for the Lubyanka.
"They ordered the commander-in-chief," answered the coachman.
- Fool! beast! - Pierre shouted, which rarely happened to him, scolding his coachman. - I ordered home; and go quickly, you fool. We still have to leave, ”Pierre said to himself.
Pierre, seeing the punished Frenchman and the crowd surrounding the Execution Grounds, decided so completely that he could not stay in Moscow any longer and was going to the army today, that it seemed to him that he either told the coachman about this, or that the coachman himself should have known it ...
Arriving home, Pierre gave the order to his coachman Evstafievich, who knows everything, who knows everything, knows all about Moscow, that he would go to Mozhaisk to the army at night and that his riding horses should be sent there. All this could not have been done on the same day, and therefore, according to Evstafievich's proposal, Pierre had to postpone his departure until another day in order to give time for the frames to leave for the road.
On the 24th it cleared up after the bad weather, and on that day after dinner Pierre left Moscow. At night, changing horses at Perkhushkovo, Pierre learned that there had been a great battle that evening. They said that here, in Perkhushkov, the earth trembled from the shots. To Pierre's questions about who won, no one could give him an answer. (It was a battle on the 24th at Shevardin.) At dawn Pierre drove up to Mozhaisk.
All the houses of Mozhaisk were occupied by troops, and at the inn, where Pierre was met by his master and coachman, there was no room in the upper rooms: everything was full of officers.
In Mozhaisk and beyond Mozhaisk, troops stood and marched everywhere. Cossacks, foot, horse soldiers, wagons, boxes, cannons could be seen from all sides. Pierre was in a hurry to drive forward, and the farther he rode away from Moscow and the deeper he plunged into this sea of ​​troops, the more he was seized by anxiety of uneasiness and a new joyful feeling he had not yet experienced. It was a feeling similar to that which he experienced in the Sloboda Palace when the emperor arrived - a feeling of the need to undertake something and sacrifice something. He was now experiencing a pleasant feeling of consciousness that everything that makes up people's happiness, the comforts of life, wealth, even life itself, is nonsense, which is pleasant to cast aside in comparison with something ... With which, Pierre could not give himself an account, and he tried to figure it out for himself for whom and for what he found a special charm to sacrifice everything. He was not interested in what he wanted to sacrifice for, but the sacrifice itself constituted a new joyful feeling for him.

On the 24th there was a battle at the Shevardinsky redoubt, on the 25th not a single shot was fired from either side, on the 26th the Borodino battle took place.
For what and how were the battles at Shevardin and at Borodino given and accepted? Why was the Battle of Borodino given? It didn't make the slightest sense to either the French or the Russians. The closest result was and should have been - for the Russians, that we were close to the death of Moscow (which we feared most in the world), and for the French, that they were close to the death of the entire army (which they also feared most in the world) ... This result was obvious at the same time, and meanwhile Napoleon gave, and Kutuzov accepted this battle.
If the generals were guided by reasonable reasons, it seemed how clear it should have been for Napoleon that, having gone two thousand miles and taking battle with the probable accident of losing a quarter of the army, he was going to certain death; and it should have seemed just as clear to Kutuzov that by accepting the battle and also risking losing a quarter of the army, he would probably lose Moscow. For Kutuzov it was mathematically clear, how clear is that if I have less than one checker in checkers and I change, I will probably lose and therefore should not change.
When the opponent has sixteen checkers, and I have fourteen, then I am only one-eighth weaker than him; and when I exchange thirteen checkers, he will be three times stronger than me.
Before the Battle of Borodino, our forces were approximately five to six of the French, and after the battle as one to two, that is, before the battle of one hundred thousand; one hundred and twenty, and after the battle fifty to a hundred. At the same time, the clever and experienced Kutuzov took up the battle. Napoleon, the genius commander, as he is called, gave battle, losing a quarter of his army and further stretching his line. If they say that, having occupied Moscow, he thought how to end the campaign by occupying Vienna, then there is a lot of evidence against this. The historians of Napoleon themselves say that he also wanted to stop from Smolensk, knew the danger of his extended position, knew that the occupation of Moscow would not be the end of the campaign, because from Smolensk he saw in what position the Russian cities were left to him, and did not receive a single answer to their repeated statements about the desire to negotiate.
Giving and accepting the Battle of Borodino, Kutuzov and Napoleon acted involuntarily and senselessly. And historians, under the accomplished facts, only then summed up cunning evidence of the foresight and genius of the commanders, who of all the involuntary instruments of world events were the most slavish and involuntary figures.
The ancients left us samples of heroic poems, in which heroes constitute the entire interest of history, and we still cannot get used to the fact that for our human time, this kind of story does not make sense.
To another question: how the Borodino and the Shevardino battles that preceded it were given - there is also a very definite and well-known, completely false idea. All historians describe the case as follows:
The Russian army allegedly in its retreat from Smolensk was looking for the best position for a general battle, and such a position was allegedly found at Borodino.
The Russians allegedly fortified this position forward, to the left of the road (from Moscow to Smolensk), at an almost right angle to it, from Borodino to Utitsa, in the very place where the battle took place.
Ahead of this position, a fortified forward post on the Shevardinsky kurgan was supposedly set up to observe the enemy. On the 24th, it was as if Napoleon attacked the forward post and took it; On the 26th, he attacked the entire Russian army, which was stationed at the Borodino field.
This is what the stories say, and all this is completely unfair, as anyone who wants to understand the essence of the matter can easily see.
The Russians weren't looking for a better position; but, on the contrary, in their retreat they passed many positions that were better than Borodinskaya. They did not stop at any of these positions: both because Kutuzov did not want to accept the position he had not chosen, and because the demand for a popular battle had not yet been expressed strongly enough, and because Miloradovich had not yet approached with the militia, and also because other reasons that are incalculable. The fact is that the previous positions were stronger and that the Borodino position (the one on which the battle was given) is not only not strong, but for some reason is not at all a position more than any other place in the Russian Empire, which, guessing, would be pointed with a pin on the map.
The Russians not only did not fortify the position of the Borodino field to the left at a right angle from the road (that is, the place where the battle took place), but they never, until August 25, 1812, thought that a battle could take place at this place. This is proved, firstly, by the fact that not only on the 25th there were no fortifications at this place, but that, begun on the 25th, they were not completed on the 26th; secondly, the position of the Shevardinsky redoubt serves as a proof: the Shevardinsky redoubt, in front of the position at which the battle was accepted, does not make any sense. Why was this redoubt stronger than all the other points? And why, defending him on the 24th until late at night, all efforts were exhausted and six thousand people were lost? A Cossack patrol was enough to observe the enemy. Thirdly, the proof that the position at which the battle took place was not foreseen and that the Shevardinsky redoubt was not the forward point of this position is that Barclay de Tolly and Bagration until the 25th were convinced that the Shevardinsky redoubt was left flank of the position and that Kutuzov himself, in his report, written in the heat of the moment after the battle, calls the Shevardinsky redoubt the left flank of the position. Much later, when reports on the Battle of Borodino were written in the open, it was (probably to justify the mistakes of the commander-in-chief, who has to be infallible) that unfair and strange testimony was invented that the Shevardinsky redoubt served as an advanced post (while it was only a fortified point of the left flank) and as if the battle of Borodino was taken by us on a fortified and pre-selected position, while it took place in a completely unexpected and almost unfortified place.

- (Greek harmonia, from harmoso to put in order). 1) musical consonance, agreement, teaching about the relationship between intervals, scales, about chords, modulations, etc. 2) the proportionality of the parts with the whole and with each other in works of art ... Dictionary of foreign words of the Russian language

HARMONY, harmony, wives. (Greek harmonia). 1. Part of the theory of music, the doctrine of the correct construction of consonances in the composition (music). "I shattered the music like a corpse, I believed the harmony with algebra." Pushkin. 2. The euphony, harmony and pleasantness of sounds ... ... Ushakov's Explanatory Dictionary

- (Harmonia, Αρμονία). Daughter of Ares and Aphrodite, wife of Cadmus. On the day of her wedding, she received a necklace from Cadmus, which brought misfortune to everyone who got it. (Source: "Concise Dictionary of Mythology and Antiquities." M. Korsh. St. Petersburg, edition A ... Encyclopedia of mythology

harmony- and, w. harmonie f., gender. harmonia, lat. harmonia. 1. Precise order, proportionality, correlation, harmony of all parts of the whole. Sl. 18. Perhaps the only reason we do not comprehend moral harmony is that it is the highest, ... ... Historical Dictionary of Russian Gallicisms

- (Greek harmonia - connection, proportion) consonance, harmony, the consistency of parts in a dismembered whole that corresponds to aesthetic laws. The idea of ​​harmony was still at the basis of the Pythagorean idea of ​​the harmony of spheres, it continues to exist in ... ... Philosophical Encyclopedia

1. HARMONY, and; f. [from the Greek. harmonia connection, consonance, proportion] 1. Expressive means of music, based on the unification of tones in harmony and on their interconnection and consistency; a section of music theory and a subject that studies these ... ... encyclopedic Dictionary

Harmony- Harmony ♦ Harmonie Benevolent or pleasant for perception agreement of many elements existing simultaneously, but independently of one another. For example, a musical chord is the agreement of several sounds (as opposed to a melody, ... ... Sponville's Philosophical Dictionary

Consonance, harmony, symphony, harmony. Wed agreement … Synonym dictionary

Harmony- (Anapa, Russia) Hotel category: 2 star hotel Address: 170 Krymskaya Street, Anapa, Russia ... Hotel catalog

HARMONY, the area of ​​expressive means of music, based on the unification of tones into consonances and on the connection of consonances in their sequential movement. Harmony is built according to certain laws of harmony in polyphonic music of any kind of homophony, ... ... Modern encyclopedia

- (Greek harmonia connection harmony, proportionality), proportionality of parts, fusion of various components of an object into a single organic whole. In ancient Greek philosophy, the organization of the cosmos, as opposed to chaos. In the history of aesthetics ... ... Big Encyclopedic Dictionary

Books

• Harmony, Berkov VO .. The book is addressed primarily to professional musicians and students of music universities, but it will be of interest to all music lovers ...

It continues to exist in a transformed form in the new philosophy of Shaftesbury, Kepler, Giordano Bruno, Leibniz and in German idealism. Goethe's pedagogical ideal, as he expresses it in "Wilhelm Meister", was "harmoniously free humanity", all valuable human abilities in balance. For Goethe, nature was a large organism, in which the harmony of power and boundaries, arbitrariness and law, freedom and measure, a mobile order, merits and demerits reigned (Metamorphosis of Animals, 1819).

Philosophical Encyclopedic Dictionary. 2010 .

HARMONY

(from the Greek ἀρμονία - connection, harmony, proportionality of parts) - reflecting the natural development of reality, int. and external consistency, integrity and proportionality of the content and form is aesthetic. object. In the history of philosophy, the category of geography received a variety of things, connecting with the problems of ethics, cosmology, and epistemology. Nevertheless, at the heart of all these teachings about G. were defined. aesthetic. ideals in representation, nature and society.

Lit .: Marks K., [Economic manuscripts of 1857-1858], in the book: Archive of Marx and Engels, vol. 4, [M.], 1935, p. 97-99; Losev A.F., Aesthetic

There is harmony in music. She emphasizes the expressiveness of the melody, "talks", complements the thoughts inherent in it. At the same time, harmony in music is one of the most difficult sciences, therefore it is thoroughly studied in musical secondary specialized and higher educational institutions. Some of the basics of harmony are included in the solfeggio course of children's music schools and children's art schools. What is harmony in music? The definition is what we'll try to figure out first.

Definition

Harmony is a multifaceted term. The concept of harmony in music includes various facets: it is a term meaning "euphony", and the science of chords and accords, and an academic discipline. Consider the definitions that are given in the tutorials in more detail.

Harmony is an integral part of artistic thinking

Harmony - pleasant to the ear coherence of sounds in a piece of music; the same as "euphony"

Harmony is a word of Greek origin, which means harmony, proportionality, proportionality, consonance.

Harmony can also be a designation for a composer's harmonic style.

Harmony - one or a group of consonances

Harmony - the doctrine of the sequence of consonances

Harmony in a narrow sense is the systemic principles of organizing pitch ratios

Harmony in a broad sense is any pitch-intonation conjugation covering the spatio-temporal continuum vertically, horizontally, diagonally, having a structure-forming meaning and capable of acting as an element (or one of the levels) of a pitch system.

Harmony - the unification of sounds in consonance and their coherent succession

Harmony is a scientific and educational-practical discipline, covering one of the most important aspects of the composition technique, studying consonances and systems of connections between them

Indeed, the definitions of harmony are varied. But they all talk about the importance of this integral part of music. About its importance for composers. After all, in order to write beautiful music, you need to be able to competently build a musical idea. The chaos of sounds will hardly be considered a masterpiece (although everything is possible in contemporary art ...). The performer also needs to understand harmony, because it is one of the means by which a musical image is created.

In its modern meaning, the term "harmony" began to be used approximately from the beginning of the 19th century, before that the concept of general-bass was used.

Features of harmony

As you can see from the definitions, harmony is not an easy science. The main thing that is studied in harmony is the chord. Like harmony in music, a chord has several meanings; different textbook authors interpret it differently.

Chord - consonance of three or more sounds arranged in thirds

This definition of a chord is the most common. It mainly refers to classical harmony, where tertz structure chords are most common. There are also quart, second and mixed chords.

A chord is a consonance of three or more sounds arranged according to a certain principle.

Each chord has a number of characteristics: structure, its function in harmony. In the course of teaching classical harmony, a lot of space is devoted to the study of the functions of chords, the sequence of their application, the peculiarities of the resolution of chords of one function or another, the correctness of voice leading when connecting chords (the transition from one chord to another).

Types of harmony in music

Harmony varieties are mainly associated with historical periods and musical styles in which harmony has been modified.

The emergence of harmony is associated with polyphonic music. By the 11th century, a division into voices appeared in the Gregorian chant, and it became almost impossible to memorize all the chorales by heart. This fact is associated with the emergence of musical notation, and the development of all musical-theoretical disciplines. In the 16th century, serious works on harmony appeared, one of which was authored by Tsarlino.

As a result, there are 4 main types of harmony:

• In the era of Viennese classicism, the basic rules of classical harmony were formed. All other types are based on these rules in one way or another.
• Romantic harmony is characteristic of the 19th century and is associated with the era of romanticism.
• Jazz harmony appeared in the 20th century along with the corresponding musical direction.
• Modern harmony also took shape in the 20th century.

Classical harmony

Classical harmony with its rules and laws was finally formed in the work of the Viennese classics: Joseph Haydn, Christoph Kluck, Wolfgang Mozart, Ludwig van Beethoven.

In classical harmony, there are 3 main functions: tonic - T, subdominant - S, dominant - D. The main functional turnover is T-S-D-T. It is in this order that the functions follow in their resolution. And, for example, if variants of combinations T-S-T, T-D-T, S-D are possible, then the transition from D to S in classical harmony is not allowed. For example, joining chords to form parallel fifths or octaves is not allowed. An important indicator is the stability of chords, clarity of key and function. Consonant chords prevail - major and minor triads. The leading role belongs to the melody, harmony basically supports it.

A rather vivid example is Diabelli's Sonatina in G major.

If you look at the first 4 measures, you can see the following chord progression T 5 3 -II 6 -D 7 -T 5 3. The second degree belongs to the subdominant function, so the classical sequence of functions is completely preserved.

In general, the main indicator of classical harmony is strict adherence to the rules.

Romantic harmony

Romantic harmony, which is gradually replacing the classical one, is much more complex. It first appeared in the works of such composers as Franz Schubert, Robert Schumann, Frederic Chopin, Hector Berlioz, Franz Liszt and Richard Wagner.

On the one hand, in the harmony of romantic composers much more freedom is allowed in vocal studies, deviations from the strict rules of classical harmony are possible. On the other hand, the consonances themselves, the chords become more complex. The role of dissonant chords is increasing: increased and decreased triads, seventh chords, non-chords. Altered chords (that is, chords with a high or low pitch) are applied. The number of non-chord sounds increases. Dissonances become of great importance, general tonal stability is lost. A term such as "extended tonality" is gaining meaning, in which there are many more functions. According to Kholopov's definition, various techniques of harmony appear. Harmonic language becomes very individual, before the appearance of "named chords", the use of chords as a leitharmony. For example, F. Chopin's work is characterized by a dominant with a sixth, for F. Schubert - VI minor.

In R. Wagner's opera "Tristan and Isolde" the so-called "Tristanachord" appears, from which the work begins, it characterizes the entire harmonic style of the composer.

The overture to the opera "Tristan and Isolde" is especially indicative from the point of view of the peculiarities of romantic harmony: instability, dissonances (tritones are highlighted in color, sometimes even 3 tritones are found in a measure), an abundance of non-chord sounds (indicated by crosses above the notes), alterations, discordant triads - all it is found even in the small fragment above, the music is simply mesmerizing!

These are the main features of romantic harmony. If we talk about the ratio in music: melody / harmony, then here more attention is paid to the colorfulness of harmony, it is she who begins to play a more significant role.

Jazz harmony

The seventh chord becomes the main harmony in jazz, the role of dissonance is very great. Voice-leading in this type of harmony is even more free. Probably jazz harmony is one of the most democratic types.

One of the important achievements of jazz harmony is the jazz chord notation system. To some extent, it is much easier for quick mastering, it is often used by people who do not have a musical education.

Instead of the usual functions - T-S-D-T - the main tones of the chords are used, for example, in C major, the sequence consisting of the main triads will look like this: C-F-G-C. The letter designations generally correspond to the classic ones:

• C - before;
• D - pe;
• E - mi;
• F - fa;
• G is salt;
• A - la.

Only the note si is found in two versions, and b does not always denote b-flat, as in classical harmony.

• H, B - si

A special feature is that instead of the small letters used in classical harmony, the letter m is simply added to denote minor triads in the jazz system. The designation of the sixth chords is also unusual, the number 6 next to the letter denoting a triad means that a sixth is added to the triad. That is, C 6 is not mi-sol-do, but do-mi-sol-la. To indicate a sixth chord, bass is written through a dash, for example, C / E - in C major with bass in E.

• M, maj, maj7, Δ - major seventh (applies only to the seventh in a chord)
• m, mi, min - minor (always refers only to the third in a chord)
• °, dim, verm - diminished (diminished seventh chord)
• Ø - small diminished (semi-diminished seventh chord)
• aug - increased
• 7, x - minor major (dominant)
• add - added step
• sus - detention (step change, usually the third for example: Csus4- it turns out instead of the third in C major there will be a fourth or Csus2 - a big second)
• omit - skip a step
• -, ♭ - lowering the degree of the chord
• +, ♯ - increasing the degree of the chord (always refers only to the fifth or nona)

The number of seventh chords can be seen in the work of E. Medvedsky - "Gamma Jazz".

There are almost no triads in this work, it is especially surprising that dissonances only enhance the cheerfulness of this music.

Modern harmony

Modern harmony is an area that is much less studied due to its complexity and incredible freedom and individuality. This includes dodecaphony, artificial frets, and much more. In modern music, tonal stability is rarely found.

You can catch this by listening to the vocal cycle of Arnold Schoenberg - "Lunar Pierrot".

Harmony Tutorials

The main textbook, which is studied by almost all musicians in secondary vocational schools, is the brigade harmony textbook. It was composed by 4 authors: I. Dubovsky, S. Evseev, I. Sposobin and V. Sokolov. In this tutorial, in detail, with examples, all the necessary rules are consistently set out in order of increasing complexity and importance of the chord functions. The major triads of the fret (as well as the most commonly used seventh chords) are traversed first, then the secondary triads are added. Then larger themes begin.

An alternative is the textbook by A. Myasoedov. The logic of presentation in this textbook is different. If triads are studied, then all at once (main and secondary). Likewise, seventh chords. In general, the logic is interesting, however, one should be very careful about the text - sometimes inaccuracies are encountered.

There are also works by E. Abyzova, T. Müller.

V. Berkov created a grandiose, thorough work on harmony. Many topics are covered in the tutorial in much more detail than in the previous two. But, nevertheless, it is better to study the brigade textbook first, and then proceed to more complex manuals.

For the most courageous, courageous people who study harmony, there are works by Yu. Kholopov. It is better not to open this book without basic knowledge of harmony. How not to open it if you are afraid of many terrible words. There are 2 textbooks by this author: a theoretical course, where the theory of Yuri Nikolaevich is presented in thematic blocks, and a practical one, where you can get acquainted with the harmony of different eras on practical tasks.

The textbook by L. Dyachkova is quite difficult for perception and, at the same time, very interesting. To fully understand what is at stake, you will have to thoroughly study the textbook of Yu. Kholopov. The most curious are 2 books: Harmony in Western European music in the 9th - early 20th century and Harmony in the 20th century.

Harmony is one of the most fascinating areas of the art of music and is fun to study despite its complexity.