"Harmony" is a song written by English musician Elton John and songwriter Bernie Taupin, and performed by John. It is the final song on the 1973 double album Goodbye Yellow Brick Road. The song was recorded in May 1973, at Chteau d'Hrouville, France.[1]

In the U.S. in 1974 "Harmony" was released as the B-side of the single "Bennie and the Jets", and in 1980 was released as an A-side in Britain, with "Mona Lisas and Mad Hatters" as the B-side. The song has been covered by many artists, including Diana Ross, Zac Brown Band and Jesse Malin.

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The lyrics of "Harmony" seem to be addressed to a lover who has returned to the singer after a long absence.[2] He wonders whether she returned to him only because he is the only friend she has left, but expresses his love regardless.[2] Although the lyrics are optimistic, writer James Perone points out that aspects of the music, such as a modulation to a minor key, suggest that the singer's happiness may be only temporary.[2] The author of The Elton John Scrapbook, Mary Anne Cassata, interprets the song as a "two-minute forty-five second dirge of despair...that somehow soared with hope enough to make Brian Wilson proud."[3] Elton John biographer Elizabeth J. Rosenthal interprets the song more metaphorically.[4] Rosenthal views the song as being about John's "love affair with music".[4] In this interpretation, John is expressing his devotion to harmony, and the "luscious" harmonies in the song are confirmation of this devotion.[4] The drawing out of the song's last note suggest to Rosenthal that John's relationship with music will last.[4]

with lyrics in "If the River Can Bend" that link nautical images about a returning lover to the "harmony" the lover previously created.[4] Rosenthal thus interprets the theme of "If the River Can Bend" as expanding on that in "Harmony" to encompass the musical partnership between John and Taupin.[4]

"Harmony" was a candidate to be the fourth single from Goodbye Yellow Brick Road, following the title song, "Saturday Night's Alright for Fighting" and "Bennie and the Jets."[5] However, a fourth single would have been released too close to John's next album Caribou, so instead it was released as the B-side of "Bennie and the Jets" in the U.S.[5] John believes that it would have been a hit had it been released, and Rolling Stone critic Andy Greene concurs.[5][6]

DJM Records eventually released the song as a single in the UK in 1980, backed with "Mona Lisas and Mad Hatters", to support the compilation album The Very Best of Elton John.[4] The single did not chart.

"Harmony" was popular on American FM playlists of the day, especially WBZ-FM in Boston, whose top 40 chart allowed for the inclusion of LP cuts and B-sides as voted for by listeners. "Harmony" spent three weeks at no. 1 on WBZ-FM's chart in June 1974 and ranked no. 6 for the year, with "Bennie and the Jets" at no. 1 and "Don't Let the Sun Go Down on Me" behind "Harmony" at no. 7.

Despite its belated and limited single release, "Harmony" has been a fan favourite.[6] It made several radio stations' Top 40s, and ranked as the No. 1 song for three weeks by WBZ-FM in Boston.[5] It was also rated the No. 6 song of 1974 by WBZ.[5]

Cassata rates "Harmony" as one of "the best John-Taupin" compositions, describing it as "brief but ethereal."[3] Rosenthal praises John's piano playing, Nigel Olsson's drumming and Del Newman's orchestral arrangement.[4] Ultimate Classic Rock critic Matthew Wilkenning described "Harmony" as a "gorgeous ballad".[7] Classic Album Sunday's founder Colleen Murphy regards "Harmony" as a personal favourite, describing it as "poignant".[8]

Diana Ross released her version of "Harmony" on the 2012 expanded edition of her 1976 album Diana Ross.[10] Jesse Malin covered the song on his 2008 album On Your Sleeve.[11] Allmusic critic described this version as "a barfly with a smile's nocturnal take" on the song.[11] The Zac Brown Band covered the song on the 40th-anniversary deluxe edition of Goodbye Yellow Brick Road.[12]

Every evening, we will enjoy mini-concerts by our brilliant staff, followed by a dance featuring contra and English country dancing, plus some late-night festivities. Within each jam-packed day, there is also time built into the schedule for jamming, snoozing, swimming, chatting, or taking some solo time if you need it. Pinewoods offers a beautiful venue for a glorious week of song, dance, learning, connection, revelry, and rejuvenation. I look forward to singing and dancing with you there!

If English dance is not your first language, if you are a new or returning contra dancer, or if you are fluent in both, come explore the connection between the two forms with a fun variety of satisfying dances. Build confidence and strengthen skills while sharing in the joy of dance!

For this class we will sing songs from a newly released collection of songs sung by abolitionists and enslaved people of the U.S. during the 1700s and 1800s. This project, which includes a 2-CD booklet, a book and documentary, includes protest songs, dance tunes, shape note tunes, spirituals and more, reflecting powerful and concerted efforts that echo today.

Examining some songs each day, listening to several, making songs out of floating lines. Justin will bring in lots of options of verses. Examining songs to see how floating lines are used, and how to compose your own both from traditional sources and writing new ones. All voices, instruments, and experience levels welcome.

Exercise: Write a list of song titles. Think of cool words, phrases, or ideas that might appear on a playlist or on the back of an album cover. Write them all down in your notebook until your brain is empty. Then go back and circle a handful that stand out above the rest. Spend five minutes free-writing on each of the circled titles. Pursue whichever one generates the most inspiration.

Once you have an idea, try to craft your story across a traditional song form. One important note is that a chorus, often referred to as a hook, is the catchiest part of a song. Sometimes this is the best place to start. Remember, lyrics and melodies can find you anywhere you are, so record your ideas with your phone often and label them well. 

Defined as a combination of simultaneously sounded musical notes to produce a pleasing effect, Harmony is the foundation on which Melody sits. With that broad definition, Harmony can include chord progressions, guitar riffs, short melodic figures, samples, and much more.

With chord progressions, it helps to know the rules before breaking them. Nearly all western instruments are broken down into half steps. On the guitar, this means moving up or down the neck one fret at a time. On the piano, it means moving to left or right one key at a time. The formula for building a major scale in any key is Whole Step (two half steps), Whole Step, Half Step, Whole Step, Whole Step, Whole Step, Half Step. Chords are then built by taking each of these notes and stacking them on top of each other, going every other note of any scale.

Exercise: Create a few sets of rhythmic patterns by combining simple rhythms, such as quarter and eighth notes. Before touching an instrument, try clapping these rhythms. If you are not yet aware of what these terms mean, then just feel this internally. Clap a pattern, and try to duplicate it. Then make it longer, and try to duplicate that. Once you have a pattern you love, record it on your phone, and go on to the next. After you have a few done, start applying these to your song. You can apply these rhythms to chord progressions or melodies.

Another note: Listen! Listen often, and listen actively to as much music as possible. Listen to the types of songs you want to write, and let them inspire you. This is research. If you sit and let music wash over you, it will translate to your head, hands, and most importantly, your heart.

Hey Dan, thanks for blogging on negative harmony.

Just wondering about the diagram of the cycle of fifths,

It seems to be for negative generators in Db Major rather than Ab Major?

Cheers

These are basically polarity ideas, but it can be used all kinds of ways. I use it a certain way, which is actually quite different than Levy or the European art music approach. I come more out of an extension of the Von Freeman tradition.

For the #BachUpsideDown project applied to the Goldbergs, I had the choice to invert on the E/F or Bb/B axes. I also wanted the music to remain as much as possible in the same register, so I wanted to have my axis be as close to the middle of the piano as possible. It turns out that the mid-point of an 88-key piano is exactly between the E and F above middle C! So this is better than inverting on either one of the Bb/B axes on either side.

Myora, the source of all life in the Cosmos, is shaped by use of the Song of Myora, a song created by the most ancient of beings, and placed into the heart of the Evertree, where it creates seeds of life to grow in its branches and spread throughout the Cosmos. The Song exists in the hearts of all creatures, but only a few can hear it, and only the Aerum are known to be able to shape it. The power of Myora, however, is not infinite, and requires balance. The Everheart Alchemists understood this, and worked hard to maintain Harmony with the Evertree, monitoring the flow and needs of the Tree and the people who lived beneath its branches with Harmony Stones.

The methods of the Everhearts were not popular, however, and they became outcasts. When other alchemists began to use too much Myora, the efforts of the Everhearts were not sufficient, and discord began to creep into the Song, darkening the heart of the Evertree. Eventually, the discord was too much, and the Song itself shattered. When that happened, the Tree cried out - but only the Everkin heard and they fled, moving their home, Where-Ever, far enough away to be safe. Dark vines of The Withering began to creep across Alaria, destroying everything in its path, and those who survived fled in their ships back into the Cosmos. All except for the Apprentice. 152ee80cbc

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