화음 이해하기: 음악에서 화음과 화음의 기능

### 화성 이해: 음악 작곡의 구성 요소
* 🎶 작곡은 멜로디, 리듬, 화음이라는 음악의 기본 요소를 이해해야 하기 때문에 **누구나 노래를 흥얼거릴 수는 있지만 누구나 작곡가가 될 수 있는 것은 아닙니다.**
* 🎼 하모니는 음악가들 사이에서 비밀로 여겨지는데, 이를 파악하려면 먼저 **오선이나 사보 프로그램에서 음을 쌓아 만들어지는 화음**을 이해해야 합니다.
* 📊 화음은 **도, 레, 미, 파, 솔, 라, 시 등 7개의 음계 음표**로 구성할 수 있으며 로마 숫자를 사용하여 시작 음을 표시할 수 있습니다.
* 🎹 세 개의 음이 겹쳐진 트라이어드는 코드의 정체성에 필수적인 **루트 음**이 있고, **세 번째 음과 확장 음**이 색과 안정감을 더합니다.
* 🎵 화음은 **토닉, 조, 지배의 세 가지 주요 기능**으로 분류할 수 있으며, **토닉은 안정감**을 제공하고, **지배는 긴장감**을 조성하며, **조는 지배로 이어지는 역할**을 합니다.
* 🔄 일반적인 코드 진행 **I-IV-V-I**는 이러한 기능적 조화를 잘 보여주는 예로, **토닉에서 장조로, 장조에서 다시 토닉으로 이어지는 구조**를 보여줍니다.
* 🎤 도레미 음계로 화음과 화성을 만드는 법을 배우는 것은 기본이지만, 작곡가는 **보컬 범위와 뮤지션에 맞게 다른 음에서 시작할 수 있는 가능성**을 고려하여 적응력도 갖춰야 합니다.
* 🎧 마지막으로, 요루시카의 나나처럼 현대 작곡가들은 작곡의 진부함을 피하기 위해 **새로운 접근 방식을 장려**하며, 종종 **서브미션에서 시작하는 진행**을 실험하기도 합니다.

작곡가는 화성을 이해하면 화음을 효과적으로 조합하여 음악을 만들 수 있습니다.

Everyone can hum a tune, but not everyone can become a composer. Why is that? The most basic elements of music are melody, rhythm, and harmony. This harmony can be seen as a secret of music that musicians tend to keep to themselves. So, what is harmony? To understand harmony, we first need to know what a chord is. Let's open a staff or a free notation program like MuseScore. Then, let's draw a single note on it. If we stack two more notes on top of it like this, voilà, we have a chord. We can create chords by stacking notes in the same way on all seven notes: do, re, mi, fa, sol, la, si. Of course, there are more chords starting from do, but let's set that aside for now. The chords we create can be combined horizontally to add color to melody and rhythm.

The harmony that we are talking about is the harmony of the scale. Now, let's write the chords built on each note of the scale—Do, Re, Mi, Fa, Sol, La, Si—using Roman numerals from 1 to 7. These numbers indicate which note the chord starts from. For example, the I chord starts on the first note, Do, while the V chord starts on the fifth note, Sol. 

Let's take a closer look at the chords. When we stack three chords, we call it a triad. It's an intuitive name. The note at the bottom of the chord is called the root. The basic principle is that chords are always built on the root note. If we omit the root note, the chord becomes like a team without a leader, so we must be particularly careful not to leave it out. 

The note directly above the root is called the third. It's not the main character, but it's still an important note. Even a slight change in the third can completely alter the feeling of the chord.

If you discard it, to put it differently, without the root note, it is very difficult to express what a chord feels like. So, let's be careful not to omit the root note. The notes above it are called extensions. These notes provide stability to the chord. However, they can sometimes be omitted. Think of them as characters in a shonen manga who lack presence but are nice to have around. Chords can continue to stack upwards like this: seventh, ninth, twelfth, thirteenth. Why can we only count up to the thirteenth? Because if you go up to the fifteenth, you come full circle and return to yourself. One thing to note is that the meanings above the root are tricky for beginners to handle. Even in jazz, which can digest anything harmonically, you need to be careful with those higher notes. However, you can safely use up to the root note. So for now, let's not mess around and focus on the root note. The chords created this way, especially the root note and...

If it includes sound, it doesn't matter how it's arranged. To give a somewhat extreme example, even if you arrange it like this, it still relates to what we just saw. This is called rearranging the positions. There are various reasons for conveying harmony, but explaining them now would just give me a headache, so let's coolly move on for now. Let's stack some layers on the seven chords created from the notes Do, Re, Mi, Fa, Sol, La, and Si. If we learn how to arrange and combine these well, we will truly be able to compose music, right? Wow, so how do we do that? In fact, that question is quite difficult to answer. Depending on the composer, theory, and genre, the explanations differ. For now, I will borrow the explanation of functional harmony to classify chords by their functions. Why? Because the explanation of functional harmony is the easiest. If we divide chords by function, we can classify them into three main categories: tonic, subdominant.

Now, let's take a look at the dominant while listening to the spring of our hometown together. First, let's examine the tonic. The main chord of the tonic is the first degree, which can be replaced by the third or sixth degrees. The primary role of the tonic is to provide harmonic stability. How does that work? It's simple. You start the music with the tonic and end with the tonic. This way, no matter what chords progress in between, you will ultimately have a structure that returns to the tonic. Naturally, when the listener hears the tonic, they will feel a release of tension and a sense of comfort. Even if the chords in between are bypassed, what matters is that the beginning and end are both tonic chords. Next, let's look at the dominant. The main chord of the dominant is the fifth chord, which can be replaced by the seventh. The function of the dominant is to create a lot of tension and build up the song. Starting off steadily with the tonic...

In music, the dominant creates a buildup of tension, which is then resolved back to the tonic. This is the most fundamental framework of functional harmony. In the children's song The Spring of My Hometown, the tonic is followed by the dominant. Now, let's take a look at the subdominant. The main chord of the subdominant is the fourth, which can be replaced by the second. The primary role of the subdominant is to lead into the dominant, creating tension directed towards the dominant. However, it is not always necessary to resolve to the dominant. If the flow of the song does not require the tension of the dominant, the subdominant can return directly to the tonic, providing stability. Now, we can see the structure of harmony more clearly. We start with a stable tonic, create tension with the subdominant, then move to the dominant, and resolve to the dominant.

Because of that, the tension is resolved again with the tonic, creating a somewhat repetitive structure that resembles card shuffling, while the song progresses. Now, I can speak about music like a knowledgeable person. For example, the chord progression of I-IV-V-I is very typical. It has a structure that progresses from tonic to subdominant to dominant and back to tonic. How does that sound? I already seem like a musician, right? Now, if I had the sheet music, I could explain the harmonies of The Spring of My Hometown. If I become a bit more familiar with it, I might even be able to create harmonies myself. So, we have learned how to create chords and construct harmonies from the notes do, re, mi, fa, sol, la, si. It's simple, isn't it? Unfortunately, on the flip side, it means that we can only analyze songs written with these notes for now. If we stray just a little from this, we still have a lot to learn.

It cannot be explained with the knowledge I have. If I wrote a song for the band using the do-re-mi-fa-sol-la scale, but the vocalist just can't sing it, what should I do? Should I end up fighting with the vocalist, blaming them for not being able to sing and putting the blame on me? Fortunately, that’s not the case. What we commonly know as the do-re-mi-fa-sol-la scale is a musical scale. The do-re-mi-fa-sol-la scale is one of the scales that starts from do. If the vocalist throws a tantrum, it’s enough to just consider the poor vocalist and make adjustments so they can sing it. You can start the scale from a different note to change the vocal range. This scale is like a recipe; as long as you know the rules for making it, you can create it from any note. However, since we’ve learned a lot today, let’s wrap it up here. Next time, let’s learn about scales and intervals. Lastly, this is a secret, but these days in the meta, songs must be in tonic.

There are many cases where it doesn't start. Let's listen to the song Nakhyang by the J-Pop band Yorushika. In this way, Yorushika's composer Nana really likes progressions that start on the subdominant rather than the tonic. This progression is not only used by Yorushika but also by many contemporary composers. So, if you feel that the song you've written is too similar to others or feels cliché, let's try this kind of progression at least once. Thank you.

작곡 사실 별거 없음 (1) ㅣ [화성학]

김요팬

화음은 음을 쌓아 화음을 만들어내는 음악의 핵심 요소입니다.

화음은 멜로디와 리듬에 색채를 더하기 위해 수평으로 결합할 수 있으며 로마 숫자를 사용하는 음계의 음을 기반으로 만들어집니다.

세 개의 코드를 쌓아서 형성되는 트라이어드에는 구조에 중요한 역할을 하는 루트 음이 있으며, 루트 위의 세 번째 음은 코드의 느낌을 형성하는 데 중요한 역할을 합니다.

루트 노트는 코드의 느낌을 표현하는 데 필수적이며, 그 위의 음은 확장음이라고 하여 안정성을 제공하며 생략할 수 있습니다.

화음은 13번째까지 쌓을 수 있지만, 초보자에게는 높은 음이 다루기 까다로울 수 있습니다.

화음을 기능에 따라 조화와 보조로 분류하면 음악 작곡에서 화음의 역할을 효과적으로 이해할 수 있습니다.

음악에서 토닉, 도미넌트, 서브도미넌트의 역할

첫 번째 도의 주 화음인 토닉은 음악을 시작하고 끝내면서 화성의 안정성을 제공하여 듣는 사람에게 편안함을 선사합니다.

도미넌트(다섯 번째 코드)는 긴장감을 조성하고 곡을 앞으로 나아가게 하며, 서브도미넌트(네 번째 코드)는 도미넌트로 이어져 긴장감을 조성합니다.

또한 노래의 흐름에 도미넌트가 필요하지 않은 경우 서브도미넌트가 바로 토닉으로 돌아와 안정감을 제공할 수 있습니다.

I-IV-V-I 코드 진행은 음악에서 흔히 볼 수 있으며, 긴장감을 해소하는 반복적인 구조를 만들어냅니다.

도-레-미-파-솔-라 음계는 서로 다른 음에서 시작하여 보컬 범위를 변경할 수 있는 음계입니다.

음계를 만드는 규칙을 이해하면 작곡과 하모니를 유연하게 만들 수 있습니다.

요루시카의 독특한 코드 진행법

요루시카의 작곡가 나나는 토닉보다는 서브미니언에서 시작하는 진행을 선호합니다.

이 독특한 접근 방식은 현대 작곡가들 사이에서 흔히 볼 수 있습니다.

자신의 음악에서 이 코드 진행을 시도해 보면 보다 독창적인 사운드를 만드는 데 도움이 될 수 있습니다.