Lesson Notes By Weeks and Term v3 - Senior Secondary 2
Harmony
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Harmony
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Subject: Music
Class: Senior Secondary 2
Term: 1st Term
Week: 1
Theme: Theory Of Music I
This page supports the lesson note with a companion video and a short classroom-ready summary.
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Students should be able to identify the roots of the triads used in harmony. itemize the simple rules of harmony. harmonize bar line of music with the primary triads.
The teacher should present these questions and work through them collaboratively with students, explaining each step and rationale.
Question 1: Identifying Roots of Triads Identify and write the root of each of the following triads: a) E-G#-B b) C-E-G c) A-C#-E d)
G-B-D Solution: a) E-G#-B: This is an E major triad. The root is E. b)
C-E-G: This is a C major triad. The root is C. c) A-C#-E: This is an A major triad. The root is A. d)
G-B-D: This is a G major triad. The root is
G. Commentary: Students must be able to recognize the lowest note of a triad in root position as its root.
Question 2: Listing Rules of Harmony List three (3) simple rules of harmony that ensure good voice leading.
Solution: Avoid Parallel Octaves and Parallel Fifths: Two voices should not move in the same direction, maintaining an octave or a perfect fifth interval.
Keep Common Tones: When two successive chords share a note, keep that note in the same voice (if possible) for smooth transitions. Resolve the Leading
Note: In a dominant chord (V), the leading note (the 7th degree of the scale) should move up by a semitone to the tonic (1st degree) in the next chord (I).
Commentary: Students should be able to recall and articulate these foundational rules. (Other valid answers include: Doubling the root, stepwise motion, proper voice ranges, contrary motion.)
Question 3: Harmonizing a Bar Line (C Major) Harmonize the following melody for SATB, using primary triads (I, IV, V) in C Major. Focus on root position chords. ``` Melody (Soprano): | C D E F | G F E C | ``` Solution: Step 1: Identify Primary Triads in C Major I (Tonic): C-E-G IV (Subdominant): F-A-C V (Dominant): G-B-D Step 2: Suggest Chord Progression for the Melody Bar 1: C (Beat 1): Suggest I (C-E-G)
D (Beat 2): D is not in I, IV, or V as a chord tone in C major. It could be a passing tone. Let's keep I for now.
E (Beat 3): Suggest I (C-E-G)
F (Beat 4): Suggest IV (F-A-C)
Bar 2: G (Beat 1): Suggest V (G-B-D)
F (Beat 2): Suggest IV (F-A-C)
E (Beat 3): Suggest I (C-E-G)
C (Beat 4): Suggest I (C-E-G) - for final resolution Proposed Chord Progression: I | IV | V | I | (Simplifying to one chord per beat for illustration, but often chords change slower) Let's simplify to one chord per bar for a beginner harmonization of a bar line.
Revised Proposed Chord Progression: I | IV | V | I | (Chord changes at the beginning of each bar)
Step 3: Distribute Voices (SATB) | Chord | Soprano (Melody) | Alto | Tenor | Bass | | :---- | :--------------- | :--- | :---- | :--- | | Bar 1: I | C | G | E | C | | Bar 2: I | E | C | G | C | | Bar 3: IV | F | C | A | F | | Bar 4: V | G | D | B | G | | Bar 5: I | C | E | G | C |
Note: For the performance objective "harmonize a bar line of music", one chord per bar beginning is appropriate for initial teaching. More advanced harmonization would involve more frequent chord changes. Harmonized Example (Simplified to one chord per bar for initial teaching): ``` Soprano: C D E F | G F E C Alto: G G G A | D C E G Tenor: E E E C | B A G E Bass: C C C F | G G C C Chord: I IV V I ```
Commentary: This example shows the melody (Soprano) and how other voices are filled in using I, IV, V chords. The Bass voice usually provides the root. Attention is paid to avoiding parallels and ensuring smooth movement. For a real classroom, students would attempt this on staff paper. Harmony refers to the simultaneous sounding of two or more musical notes to create chords, and the study of how these chords are constructed and how they progress from one to another. It adds depth, colour, and emotional quality to music, providing a vertical dimension to the horizontal flow of melody. In essence, harmony is the "vertical aspect" of music, dealing with simultaneous sounds, as opposed to melody, which is the "horizontal aspect" dealing with successive sounds. A triad is a chord consisting of three notes: a root, a third, and a fifth. These notes are stacked in superimposed thirds above the root.
Root: The fundamental note upon which the triad is built.
Third: The note a third above the root.
Fifth: The note a fifth above the root. Types of Triads (Briefly Mentioned for Context): While the focus will be on primary triads, it is helpful for the teacher to be aware of the common types: Major Triad: Root + Major 3rd + Perfect 5th (e.g., C-E-G).
Minor Triad: Root + Minor 3rd + Perfect 5th (e.g., C-Eb-G).
Diminished Triad: Root + Minor 3rd + Diminished 5th (e.g., C-Eb-Gb).
Augmented Triad: Root + Major 3rd + Augmented 5th (e.g., C-E-G#). Primary triads are the most fundamental chords in tonal music. They are built on the tonic (first degree), subdominant (fourth degree), and dominant (fifth degree) of a scale. They are essential for establishing a key and creating basic harmonic progressions.
Tonic Triad (I): Built on the 1st degree of the scale. It is the most stable chord and provides a sense of rest or home.
In C Major: C-E-G (Root: C)
In G Major: G-B-D (Root: G)
In F Major: F-A-C (Root: F)
Subdominant Triad (IV): Built on the 4th degree of the scale. It often moves to the dominant or tonic.
In C Major: F-A-C (Root: F)
In G Major: C-E-G (Root: C)
In F Major: Bb-D-F (Root: Bb)
Dominant Triad (V): Built on the 5th degree of the scale. It creates tension and strongly leads back to the tonic.
In C Major: G-B-D (Root: G)
In G Major: D-F#-A (Root: D)
In F Major: C-E-G (Root: C) For SS2, primary triads are primarily used in root position, meaning the root of the chord is the lowest note.
Nigerian Church Hymns and Choruses: Many hymns and gospel choruses sung in Nigerian churches are harmonized using basic I, IV, V chord progressions. Students who understand harmony can actively participate in church music ministry, arrange simple parts for other voices or instruments, and appreciate the structure of the music they sing weekly. For example, analyzing the simple chord changes in common hymns like "Stand Up! Stand Up for Jesus" or popular Nigerian gospel songs. Music Production and DJing (Afrobeats/Highlife): Aspiring music producers and DJs in Nigeria often work with chord progressions to create instrumental tracks or remixes. Understanding harmony allows them to choose appropriate chords, layer instruments effectively, and create engaging harmonic backdrops for popular Nigerian genres like Afrobeats, Highlife, and Fuji music. The use of repetitive, yet harmonically stable, chord patterns is common in these genres.
School/Community Ensemble Performance: Knowledge of harmony is essential for students participating in school choirs, bands, or community music groups. It enables them to understand their individual parts within the larger harmonic texture, contribute meaningfully to the ensemble, and even improvise simple counter-melodies or background harmonies during performances of Nigerian folk songs or national anthems.