I am just about ready to introduce the first in a projected series of articles discussing, in accessible terms I hope, the influence that the harmonic series has had on musical development since the Middle Ages. I will be discussing not only the connection between the harmonic series and timbre (the obvious one), but also the connections between this and the conventions governing musical structures such as rhythm, melody and harmony.
Ultimately, I will arrive at the conclusion that there needs to be a clear, natural (as opposed to contrived), relationship between the the diverse sets of proportions inherent in the harmonic series, and musical expression – now and in the future. Ironically, or so it might seem, I will also argue that whereas the development of functional harmony and therefore tonality was strongly influenced by our perception (maybe subliminal – I don’t know) of the ‘inner workings’ of musical sound, the music that has already left, and will leave, tonality where it belongs – in the past – is equally bound up with these inner workings – particularly as represented by the harmonic series.
Many will know a great deal about the relationship between the harmonic series and timbre already, so may not find anything particularly new in the first article which sets the scene, so to speak. To find out if you’re one of them, click here.