Harmonic Techniques: Quick Reference

A practical guide to Messiaen's harmonic language.

Core Principle: Natural Harmony

Harmony is "pre-existent in the melody, awaiting manifestation"—not constructed but revealed.

• Derived from acoustic resonance (overtone series)
• Serves coloristic and expressive purposes
• Filtered through "sacred instinct of the natural and true"

1. Added Notes

Concept

Traditional nonharmonic tones (passing, neighbor, appoggiatura) become permanent chord members—no preparation or resolution required.

Most Important Added Notes

Application

Basic triad:         C - E - G
With added 6th:      C - E - G - A
With added ♯4:       C - E - F♯ - G
With both:           C - E - F♯ - G - A  (Mode 2 chord)

Key insight: Added notes transform chord color without destroying chord identity.

2. Three Special Chords

Chord on the Dominant

Content: All 7 notes of major scale simultaneously Function: Saturated dominant sonority Treatment: "Stained-glass window"—varied inversions over common bass

Contains: C - D - E - F - G - A - B (in C major)

Chord of Resonance

Content: Pitches audible in overtone series of low fundamental Function: Acoustic foundation of "natural harmony" Connection: Yields all notes of Mode 3

Approximates: C - E - G - B♭ - D - F♯ (and higher partials)

Chord in Fourths

Content: Stacked perfect and augmented fourths Function: Quartal alternative to tertian harmony Connection: Contains all notes of Mode 5

Example: C - F - B - E - A

3. Resonance Effects

Superior Resonance

Add cluster of chords above principal chord → upward harmonic "halo"

Inferior Resonance

Add cluster of chords below principal chord → downward harmonic "shadow"

Stained-Glass Window Effect

Multiple inversions of same chord, colored differently, over common bass → kaleidoscopic shimmer

Aesthetic: Named for cathedral windows—colored light through harmony.

4. Modes of Limited Transposition

Quick Reference Table

Mode 2 (Octatonic) — The Primary Mode

Pattern: Semitone-Tone-Semitone-Tone-Semitone-Tone-Semitone-Tone Transposition 1: C - C♯ - D♯ - E - F♯ - G - A - B♭

Characteristic chord: Added 6th + augmented 4th Tonal implications: Suggests 4 major keys simultaneously (C, E♭, F♯, A)

Mode 3 — The Second Primary Mode

Pattern: Tone-Semitone-Semitone (×3) Contains: 9 of 12 chromatic pitches

Characteristic chord: Chord of resonance Character: Dense but not chromatic; distinctive gaps

Using Modes Harmonically

1. All chord tones must belong to chosen mode
2. Melody also stays within mode
3. Change transposition for harmonic motion
4. Change mode for larger contrast

5. Modal Modulation

Within Same Mode (Change Transposition)

Effect: Harmonic motion while maintaining modal character Example: Mode 2, transposition 1 → Mode 2, transposition 2

To Different Mode

Effect: Change of harmonic color/intervallic structure Example: Mode 2 → Mode 3 (octatonic to nine-note)

Mixing with Tonality

Tools:

• Emphasize specific pitches (tonic, dominant)
• Use dominant seventh chord
• Return frequently to tonal center

Result: Modal color within tonal orientation

6. Polymodality

Definition

Simultaneous superposition of different modes in different layers.

Two-Mode Combinations

Most common; each staff uses different mode (both melodically and harmonically).

Upper staff: Mode 3, first transposition
Lower staff: Mode 2, second transposition

Three-Mode Combinations

Maximum density; three distinct modal layers.

Polymodal Modulation

Change the modal combination over time:

1. Transposition change: Same modes, different transposition levels
2. Layer exchange: Swap which mode is in which voice
3. Modal substitution: Replace one or more modes with different modes

Key Distinction: Polymodality ≠ Polytonality

• Polytonality: Clash of competing key areas
• Polymodality: Unified field; "modal force absorbs" potential conflicts

7. Enlargement of Foreign Notes

Pedal Group

Traditional pedal point → complete repeating musical structure

• Has its own rhythm, melody, harmony
• Functions as single "pedal" analytically

Passing Group

Traditional passing tone → complete harmonic progression

• Moves between structural pillars
• Functions as single "passing" motion

Embellishment Group

Traditional ornament → extended scalar flourish

• "Immense scroll" elaborating single pitch
• Functions as single embellishment

Upbeat-Accent-Termination

The most expressive configuration:

• Upbeat: "Immense" preparation
• Accent: Point of arrival
• Termination: "Immense" resolution

Elements may be separated by rests or appear independently.

8. Chord Connection Strategies

Harmonic Litany

Same melody, different harmonizations on each repetition.

Retrograde Connection

Second chord is retrograde voicing of first.

Parallel Motion

All voices move in same direction (contrary to traditional rules).

Stained-Glass Progressions

Same chord type, different inversions, over pedal bass.

Modal Progression

All chords from same mode; motion by transposition within mode.

9. Relationship to Other Systems

Practical Workflow

Starting from Melody

1. Write melody using chosen mode
2. Identify characteristic intervals
3. Build chords from mode's pitch content
4. Apply added notes for color
5. Consider resonance effects for texture

Starting from Harmony

1. Choose mode(s) and transposition(s)
2. Build characteristic chords
3. Plan progressions (within mode or modulating)
4. Add resonance/cluster effects
5. Derive melody from harmonic implications

Creating Polymodal Texture

1. Assign mode + transposition to each layer
2. Ensure each layer is internally consistent
3. Check vertical combinations for interest
4. Plan any polymodal modulations
5. Use timbral differentiation to clarify layers

Quick Diagnostic

Is your harmony "Messiaen-esque"?

• Uses modes of limited transposition?
• Contains added notes (especially 6th, ♯4)?
• Avoids standard functional progressions?
• Creates "atmosphere of several tonalities"?
• Employs coloristic/resonance effects?
• Serves melodic expression?
• Has some "impossible" quality (limited transposition)?