Harmonic Shapes

Fredrik Lidin
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Abstract

The seven notes of the major scale have since long formed the basis for music theory and music analysis in a European and Anglo-American context. Diatonic music is divided into different keys based around a specific tonal centre – the tonic. This article highlights music that does not conform to the traditional harmonic movement within a key. Such music usually requires an unnecessarily complex theoretical explanation using established theoretical concepts when analysing tonal content. Some musicologists use traditional analysis to demonstrate how, for example, rock music differs from more traditional key-centred music. Other musicologists claim that certain music has established a practice and a tonal language of its own and should be analysed as such. So, how should harmony in music be defined, if not through the notion of traditional keys? In this article a new concept is proposed – harmonic shapes. These shapes are outlined over a pitch space, and can serve as a tool both for analysis and for creating music. Maybe a concept like this can help creators break free from a traditional framework, and still have a kind of dogma and direction for their creativity?
谐波的形状
大调音阶的七个音符长期以来一直是欧洲和英美音乐理论和音乐分析的基础。全音阶音乐围绕一个特定的音调中心——主音,被分成不同的音阶。这篇文章强调了不符合传统和声运动的音乐。在分析调性内容时,这种音乐通常需要使用既定的理论概念进行不必要的复杂理论解释。一些音乐学家使用传统的分析来证明,例如,摇滚乐与更传统的以琴键为中心的音乐是如何不同的。其他音乐学家声称,某些音乐已经建立了自己的实践和调性语言,应该这样来分析。那么,音乐中的和声应该如何定义,如果不是通过传统的键的概念呢?本文提出了一个新的概念——谐波形。这些形状在音高空间上勾画出来,可以作为分析和创作音乐的工具。也许这样的概念可以帮助创作者摆脱传统的框架,并为他们的创造力提供一种教条和方向?
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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