Hit Song Harmony and Progressions

In 1722, Jean-Philippe Rameau defined harmony as "...the gathering together of several sounds which are agreeable to the ear." This "traditional" definition is still true today - but it needs a little "modern" updating.

Harmony begins with one sound (one letter with one number), and this first sound of harmony is called the root or tone 1. At the beginning, key is simply "the letter of tone 1".

Harmony then proceeds to "gather more sounds" by adding letters and tone numbers in a numerical order. The progressive harmonies that result are then given names. For example, "two sounds with the same or different letter names" is an interval, "three sounds with different letter names" is a triad, and "four sounds with different letter names" is a tetrad.

Theoretically, harmony proceeds to include all 12 sounds with 21 different letter names, but dodecaphonic harmony can’t be played on the bass - thank goodness!

However, harmony can be played on the bass in two different ways: melodic and harmonic. Melodic means "one at a time" and Harmonic means "at the same time".

When harmony of three or more different letters and tone numbers are played melodically (one at a time) we call it an arpeggio, and when harmony of three or more different letters and tone numbers are played harmonically (at the same time) we call it a chord. Intervals (two sounds) may be played both melodically and harmonically but are not considered or called arpeggios or chords.

A traditional harmony symbol , such as Cm, is almost always referred to as a "chord symbol". However, this would not be true if that Cm harmony was played as an arpeggio. In that case, the Cm harmony symbol would have to be called an "arpeggio symbol" - but that sounds too weird. So, to avoid stating the way in which the harmony is to be played, simply use the term "harmony symbol". That way, we are free to play the harmony however we wish, either as an arpeggio or as a chord.

Harmony is grouped into "types" based upon their 3rd and 5th intervals. The 3rds intervals are: major 1 3, minor 1 ♭3, and suspended 1♯3, and the 5ths intervals are: perfect 1 5, diminished 1 ♭5, and augmented 1♯5.

By combining the above "six interval types" we create nine triads: major 1 3 5, major flat five 1 3 ♭5, major sharp five 1 3 ♯5, minor 1 ♭3 5, minor flat five 1 ♭3 ♭5, minor sharp five 1 ♭3 ♯5, and suspended 1 ♯ 3 5, suspended flat five 1 ♯3 ♭5, and suspended sharp five 1 ♯3 ♯5.

By adding the remaining major scale tones: 6 7 9 11 13 (plus their chromatic sharps and flats) to the above nine triads, we create a "virtually infinite" number of harmonies. More harmony than anyone on Earth has time to play!

To progress means to "move forward". Therefore, a harmony progression is when an arpeggio or chord harmony moves forward in any order to the next harmony of any type.

Now, by combining the "virtually infinite" number of harmonies with an equally "infinite" number of harmony types and orders, the result is more "harmony progressions" than anyone in the Universe has time to play!!

Let’s end this lesson with a few "hit songs". Notice that all of these famous harmony progressions use only six harmonies from the G major scale. Remember, keep it simple - less is more. Figures 1 - 18.

Next time, we’ll explore minor scale harmony and its progressions, but before then, be sure to read the free online lesson "Bass Harmony Numerics". BassBooks.com FREE STUFF - EDUCATIONAL/LESSONS

Till next time, have some harmony fun and don’t forget to progress. I’ll be listening...