What are Chords, Melody and Harmony?

What exactly are chords, melody and harmony? How do you distinguish one from another? What are some examples of these being used in a DAW like Sonar?

Look for the documentary "How Music Works" and you'll get an excellent answer to all those questions. It's a BBC documentary which hasn't been released for sale or rent, so it's on YouTube apparently without issues from the BBC to remove it. There are separate sections on rhythm, melody, bass, and harmony. They are all quite good, entertaining and educational. The host, Howard Goodall, has a number of BBC documentaries on music that are quite good.

Technically speaking a chord is 3 or more notes at once. Two notes is described as an interval. Two notes alone don't constitiute a chord. Two notes (by themselves) don't have the ability to spell out a minor or major tonality.

The word harmony can have two meanings. One is to describe the chord progression. Harmony can also mean another melody that works in conjunction with the main melody. Harmony (in this sense) usually will have exactly the same rhythm as the melody and it is spaced an interval away from the melody. This interval has to be adjusted to fit the chord progression as the melody goes along.

Another secondary melody that works in conjunction with the main melody can be described as a counterpoint melody. But in this case the rhythm of the counterpoint is not necessarily following the exact rhythm of the melody.

I am not sure that I would agree that the harmony alone (chords) is the focal point of the music. (when both chords and melody are present) I think that the melody of the music could be described as the focal point of the music. It is really a combination of both chords and melody that gives us the strongest outcome. Remember a chord progression on its own in not a copyrightable thing, but the melody is. A melody on its own would stand up compared to a just a chord progression on its own. But the best and greatest and most emotional impact usually happens when both the melody and the chords are present.

Please also accept that I am not such a traditionalist that music has to have chords and melodies for it to exist and be good. Music can have any combiniation of these things and even just the percussive rhythm component alone as well. Music can be just a series of sounds if you want it to be. But good melody writing over well chosen chords is hard to beat in many ways and as I said before it is often the case when the music is emotionally effective. (Listen to Steely Dan for some serious melody over chord progressions.)

Rob brings up an interesting point about the dyad because it can imply or suggest  a chord type in its own way. eg the notes C and E may suggest or imply a C Major chord and the notes C and Eb may suggest a C Minor chord. It is not as strong as a three (or more) note chord but an interesting type of chord none the less. I am still correct in a way because two notes are a vague sort of chord but a strong interval.

What is also cool is the just two notes can suggest a C Major chord which is the I chord in the key of C, the IV chord in the key of G and the V chord in the key of F so with just two notes three keys can be implied as well.

It is also interesting how a single bass root note plus a two notes above that can spell out all 4 seventh chord types and a bass note plus three notes above can spell out many many chord types. It sounds good when you are economical or use a minimum number of notes to spell chords. Many musicians use far too many notes at the same time to spell out chords and the music is cluttered as a result. You don't really need a guitarist and a keyboard player to play the same chord at the same time, better they do it at different times but also even better when economical note choices (and different voicings) are used. Even better again when they are doing two different jobs or roles. (This is when the playing impacts on engineering. When too many people are playing too many notes in chords at the same time no matter of engineering will be able to separate them out as much as getting all those people doing different things then it is much easier to keep them separate in a mix. )

A great book for economical note choices for chords is 'Jazz Rock Voicings For the Contemporary Keyboard Player' by Dan Haerle. (for keyboard players at least)  What I found interesting while studying Jazz harmony is that they tell you all the notes that are piled up to spell out many chord types then they tell you to start leaving them all out and use the least number of notes to spell out chord types. It sounds way better and clearer. Also if you are using say only two (or three) notes to spell out chords (while the bass player plays the root notes) you can get through faster and harder chord changes because you only have to move two or three fingers around (and not by much either) to cover those changes easily.

Jeff, excellent post. I remember the days of scoring 4 part harmony, no consecutive 5ths etc and the rigid rules composers had to follow. Fast forward to the pop era and everything changed. The skill of using less as more is even something I forget in the name of pop and this is an excellent reminder. 
Certainly, if the piece is in C major for instance, I don't need to play the 'E' or the 'G' if I want everyone to hear a Cmaj7. 
The best producers/composers  tell you want they want you to hear with the minimum fuss. Sure, double up for texture if needed, but otherwise keep the focal point the focal point and don't muddy it up with unnecessary notation. I know they say there are no rules in pop, but you have made an excellent point and one I will definitely try to adhere to

Cheers

Bibs

Chords can be either hand but in modern music a lot of times the left hand sets the chord to which a melody line is played on the right hand. Alternatively if you are doing a walking bass or other bass emphasized piece, the right hand can switch to chords while the bass line is played with the left hand. And then there are some who play moving parts with both hands.

Harmony can be resonant or dissonant. Resonant harmonies are made up of 3 or more notes which are pleasing to the ear, dissonant chords will sound out of place or conflicting, setting up tension in the song. Harmony for the most part is just the other notes in a chord. There is a fundamental root note, say C. E & G would be the 3rd and 5th harmony notes of the chord. If you add a B then you have a 7th harmony note. Any notes relation to the root (except for inversions) is generally a harmonized note. Melody is the series of notes played against a chord to which you sing lyrics or play a lead guitar or piano lead. Generally the melody is in the key of the root note. Not always however and that is the magic of music. You can play melodies not in the key of the song that can also work, which is more advanced.

Ah. Well then in that case, the harmony is the 2nd or 3rd note that sounds with the melody note to create a chordal harmony with the fundamental note of the melody (not necessarily the root note).

droddey


Look for the documentary "How Music Works" and you'll get an excellent answer to all those questions. It's a BBC documentary which hasn't been released for sale or rent, so it's on YouTube apparently without issues from the BBC to remove it. There are separate sections on rhythm, melody, bass, and harmony. They are all quite good, entertaining and educational. The host, Howard Goodall, has a number of BBC documentaries on music that are quite good.

+1 to this. I just started watching it (thanks to your recommendation) and it's really interesting. 4 hours of YouTube to watch there mate. Get into it and it'll answer all these questions and more!

Great topic!!!!

All of us can relate to this on simple and deep levels.

I agree, and I've enjoyed all the replies too.

+1 on the Eagles for harmony.  Their surround-sound version of "Seven Bridges Road" that came on the Hell Freezes Over DVD is amazing.  The Eagles bring a super-tight 3-part harmony, just like many country and Tejano acts.

I hear what you're saying, about having a hard time distinguishing harmony from melody.  Sometimes it's like the word "irony".  I can't explain it, but I know it when I hear it.

For examples of harmony:
1. "If I Fell" - Beatles.  The lower line is the melody, and the higher line is the harmony.
2. "Drive My Car" - Beatles.  Now the higher line is the melody, lower line the harmony.

If someone were to hear these records for the first time, and you asked them sing them back to you, the vast majority of the time people will automatically sing the melody.  I have no idea why that is, or how it works.  However, I have seen this happen time and time again, whether it's in a cover band or church choir.  People gravitate toward the melody.  Some people will sing the harmony, if you sing it loudly enough, and close enough to them, so they can pick it out.  Stop singing the harmony, and they'll revert back to the melody.

More than two notes combined or played in unison form a "chord".

"Harmony" is a process.

"Melody" a succession of single tones/notes creating a phrase or idea.

marcos69


I've always like this song where the main vocal is sung as a harmony part to the melody. http://www.youtube.com/watch?v=RUxB9HlXoBM

you really want to see something and hear something strange... perhaps a bit funny too?  Let the music minister in a church, who is singing the melody to a newish song.... where the people are not exactly sure of the melody yet..... then he gets a bit of "the spirit" and goes off singing the harmony part because he feels it......... total chaos in the audience. 


Love the Moodys.... they have done that same thing on several other tunes.  What is interesting.... even though they never sing the melody notes...... anyone (almost anyone) could easily pick out the melody without ever hearing it sung.  Most people singing to this would do that without even realizing it. 

skylightron


What exactly are chords, melody and harmony? How do you distinguish one from another? What are some examples of these being used in a DAW like Sonar?

There are tons of videos on YT and I have found that I have been using things without knowing I used them - and harmony is something I am very comfortable with - too comfortable actually.


To Jeff's latter point: 


I'll go even further and say that harmony is just melody lines at lower intervals. If you've taken theory course and have been exposed to part writing - that is the visual represetation of what I just said. Most don't think of harmony in that sense though. I know I didn't at first.


To add to the explanations though:


Melody is what people consider to be "the singer/vocalist's part. You've heard the term accompany (ment). The singer + another musician usually on a chordophone (ie: piano)


The pianist (and not limited to) plays the notes underneath the melody and often times plays the singer's part within the chord (to help guide him/her)


If this is in choral fashion (part-writing alluded to above) - the soprano sings the melody. However, this isn't limited to mid-high range instruments.


Commonly when faced with strings violins + violas play the melody, but cellos and bass viols can play it as well - it's just octaves lower unless they are flirting with the body of the instruments. Same goes for choral arrangements; Melody lines aren't limited to the Soprano.


There are cases where a compromised range is used. A bass guitar often will play melodies from the middle of the neck up, but not too far up (unless the performer wants to) It won't play too low because melodies don't work well if at all down there; however, they don't play too high unless something is being emphasized.

This brings us to harmony and chords which is walked into because on chordophones (not limited to piano/keyboard instruments), harmony/chords are often played and highly recommended to be played in the same range as the bass guitar for the very same reason. Too far to the left, chords sound thick and muddy; too far to the right, they sound thin & twinkly. When played at either extreme, it's done so to illicit some kind of effect.

The compromised range is the middle. You can reach in either direction, but be mindful of how far you go as things start to sound not-so-pleasant beyond a point.

When it comes to composition and arranging these rules have to be taken into consideration as well as others - the main one being said instrument's limitation.

An 88-key piano can only go from A (3 octaves below Middle A) to C (5 octaves above Middle C). Even a semitone/half step above or below is not possible.

The 47 string concert harp (strings only) go from C (3 octaves below Middle C) to G (3 octaves + Perfect 5th above.) There's a 48 string one as well - which is the same except the + Perfect 5th part is + Major sixth. (C-G ---> C-A) Intervals as Jeff mentioned earlier. 
As to how these two relate in range: Compared to the harp (strings only), the piano has two more keys on the low end (three if you count the engaged pedal) while it has three more (two if 48 strings) on the high end. Six less notes on a 47 string harp and four less on a 48-string one.

It would be easier to see this on strings. The violin/violas lowest note is middle G (maybe F), but further down is cello territory. Anything bellow its range is bass viol territory - mind you that they can all play the violin's lowest note.

And there is such a thing as two-part harmony. That's reserved mostly for vocal harmonization. Not all songs consist of trios, quartets, quintets to a full ensemble. Duets (That's a show, no?)

I went off track, but the middle stuff about range is something to consider. Back to the QAH:

Harmony = Chords = Instrumentalist's part (provided it's polyphonic - though you can get this with multiple monophonic instruments. ie: Piano chord = three or four flutes playing the appropriate intervals)

Melody = the tune (on top of the harmony) =/= has to "sound high"

I hope this wasn't too much to absorb.