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Traditional sub-Saharan African harmony
This article discusses the music theory of Traditional sub-Saharan African harmony.
Sub-Saharan harmony is based on the principles of homophonic parallelism (similar chords changing simultaneously), homophonic polyphony (independent parts moving together), counter melody (secondary melody) and ostinato-variation (variations based on a repeated theme). Polyphony (contrapuntal and ostinato variation) is common in African music and heterophony (the voices move at different times) is a common technique as well. Although these principles of traditional (precolonial and pre-Arab) African music are of pan-African validity, the degree to which they are used in one area over another (or in the same community) varies. Specific techniques that used to generate harmony in Africa are the "span process", "pedal notes" (a held note, typically in the bass, around which other parts move), "Rhythmic harmony", "harmony by imitation", and "scalar clusters" (see below for explanation of these terms).
== General overview ==
"By Western standards, African music is characteristically complex...Two or more events tend to occur simultaneously within a musical context. Even players of simple solo instruments (such as the musical bow or the flute) manage to manipulate the instrument in such a way to produce simultaneous sounds by playing overtones with the bow, by humming while bowing, and the like...Overlapping choral antiphony and responsorial singing are principal types of African polyphony. Various combinations of ostinato and drone-ostinato, polymelody (mainly two-part), and parallel intervals are additional polyphonic techniques frequently employed. Several types may intermingle within one vocal or instrumental piece, with the resulting choral or orchestral tendency being the stacking of parts or voices. Consequently three- or four-part density is not an uncommon African musical feature. Such densities are constantly fluctuating so that continuous triads throughout an entire piece are uncommon. Canonic imitation may occur in responsorial or antiphonal sections of African music as a result of the repetition of the first phrase or the introduction of new melodic material in the form of a refrain. The latter may involve a contrasting section or a completion of the original melody." —Karlton E. Hester〔Karlton E. Hester, Bigotry and the Afrocentric “Jazz” Evolution, Third Edition, Global academic publishing, published, April 30, 2004〕
Chordal relationships that occur as a result of the Polyphony, homophonic parallelism and homophonic polyphony found in African music are not always 'functional' in the western musical sense. However, they accomplish the balance of tension-release and dissonance-consonance. In addition, they form varieties of chord combinations and clusters, as well as varying levels of harmonic patterning.
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