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One textbook definition of harmony is a situation in which there is agreement…a worthy goal for any effective work environment. However, when I hear the word harmony, I think of my husband, the choral conductor. He has developed his natural talent and acquired remarkable skills in creating harmony out of disparate student voices from years of education and experience. The process is not so dissimilar in the workplace. Using the Color Code, leaders can become talented conductors, of a sort. Understanding how various core colors interact with each other can build on your natural talents and help you acquire greater skills to minimize conflict and bring more harmony to your organizations.
Similar to the Color Code, choral music has essentially four voices: soprano, alto, tenor and bass. The process of bringing those voices into accord begins first within each section. For example, the conductor must discover the differing range and quality of each voice in the soprano section. With that information, he or she is better able to position each member of a section in the most advantageous configuration to achieve the highest quality of sound. So too must managers understand how each motive type interacts with others who share their core color. Each color interacting with another of their same motive type has areas of natural synergy and areas of natural conflict.
Reds working together share vision, leadership, determination and high levels of motivation. On the flip side, they can encounter power struggles if each must always be right. The combination of Blues on a team brings unparalleled quality, creativity and commitment. However, they can become self-critical and overly preoccupied with details. Two or more Whites interacting on a project lend objectivity, balance and problem solving skills. On the other hand, productivity can suffer if both fall into the trap of silent stubbornness. Each can quietly refuse to budge on an issue and neither one will be likely to raise the issue to find resolution. Yellows working with other Yellows bring boundless enthusiasm, optimism and social skills. They can also be unfocused and irresponsible, neither willing to step up and lead. This understanding empowers managers to anticipate both the strengths and limitations brought to bear when you have two or more of the same core motive type on a team. And, like the conductor, you are better able to position members of a team to their best advantage to maximize the desired result.
Women’s voices, alto and soprano, combined and men’s voices, tenor and bass, combined represent complementary similarities. They each enjoy an ease of blend and enhanced quality that provides a richness of sound surpassing that of individual parts singing alone. Likewise, certain combinations of colors are naturally drawn together for their shared strengths to produce a better outcome than either could achieve individually. Reds and Yellows share strong verbal skills, are excited about change and enjoy freedom from emotional clutter. Blues and Whites are able to set ego aside, share an interest in team success and are in tune with others. Understanding how these complementary similarities function together lends insights into how to make the most of team members’ natural skills.
Sopranos singing with basses and altos singing with tenors yields the kind of results seen with complementary opposites. The higher range of a soprano blending with the opposing deep, resonant sound of a bass provide a quality of sound that is at once intriguing and beautiful. You will, no doubt, note similar complementary opposites among your co-workers. Reds like to lead and Whites are happy to follow. Whites’ sense of calm and balance tends to temper the fiery disposition of the Red. The steadiness of Blues helps ground the flightiness of Yellows. The spontaneous fun of Yellows helps to pull Blues out of their intense focus on duty and perfection. Complementary opposites are obviously great for teams as these combinations compensate for each other’s limitations and enhance each other’s natural strengths.
Every singing group has their soloists and others who we will call “blenders.” Soloists have the talent and skill to stand alone and sing. They can be the rainmakers in an organization, the ones who get noticed. Others sometimes resent their prima dona attitude and apparent egotism. “Blenders” are those who are not particularly interested in or proficient at singing alone but are capable of skillfully singing multiple parts. They are the ones, who when added to any musical line, make everyone else singing that line sound immeasurably, almost inexplicably, better. It is not difficult to draw a work/life analogy here. Reds and Yellows are most often the soloists. They like to look good in their respective ways and are often self-centered. Blues and Whites tend to be the “blenders” or worker bees. Whatever the project or assignment, they are very capable at multiple assignments and able to set ego aside for the good of the team. With their assistance, the outcome is always improved. Who are your soloists and “blenders?”
Western music is written in such a way to provide both consonant and dissonant harmony. Consonant harmony is the kind that sounds pleasing to the ear. Dissonant harmonies are those that sound almost as if a mistake has been made. Some color combinations also work together in a way that can seem almost as if a mistake has been made. The example most often cited is Reds and Blues. While the potential for a powerfully positive combination exists, this duo can readily be resoundingly dissonant. From their foundation they conflict in logic versus emotion. Reds are all about high productivity. Blues tend toward strong perfectionism. They are polar opposites regarding sensitivity. Reds lacking and Blues possessing an overabundance. The list goes on. Learning how to recognize the areas of natural synergy between this sometimes dissonant color combination is critical to success when confronted with these two power house colors. Reds and Blues are both dependable and oriented toward high achievement. They both have great loyalty: Reds to tasks and Blues to relationships. Reds provide vision and Blue can be counted on for quality. A manager must understand these shared strengths to then help the Red and Blue co-worker recognize and respect the positive traits and not focus unduly on the areas of potential conflict.
What conductors understand and managers must learn is that creating harmony in the workplace does not mean the absence of conflict or dissonance. Singers, irrespective of their part, can be dissonant with other parts or even within their own section. Likewise, all colors have the potential for discord with other colors or even someone who shares their core color. An awareness of the potential for consonant or dissonant harmonies within your organization can help to minimize unproductive differences. That same awareness can also help to explain how some disagreements can provide a dynamic source of strength as each color works through the dissonance. As with Western music, the resolution of the dissonance is where the most beautiful music is found. The same can be true in your organization.
Similar to the Color Code, choral music has essentially four voices: soprano, alto, tenor and bass. The process of bringing those voices into accord begins first within each section. For example, the conductor must discover the differing range and quality of each voice in the soprano section. With that information, he or she is better able to position each member of a section in the most advantageous configuration to achieve the highest quality of sound. So too must managers understand how each motive type interacts with others who share their core color. Each color interacting with another of their same motive type has areas of natural synergy and areas of natural conflict.
Reds working together share vision, leadership, determination and high levels of motivation. On the flip side, they can encounter power struggles if each must always be right. The combination of Blues on a team brings unparalleled quality, creativity and commitment. However, they can become self-critical and overly preoccupied with details. Two or more Whites interacting on a project lend objectivity, balance and problem solving skills. On the other hand, productivity can suffer if both fall into the trap of silent stubbornness. Each can quietly refuse to budge on an issue and neither one will be likely to raise the issue to find resolution. Yellows working with other Yellows bring boundless enthusiasm, optimism and social skills. They can also be unfocused and irresponsible, neither willing to step up and lead. This understanding empowers managers to anticipate both the strengths and limitations brought to bear when you have two or more of the same core motive type on a team. And, like the conductor, you are better able to position members of a team to their best advantage to maximize the desired result.
Women’s voices, alto and soprano, combined and men’s voices, tenor and bass, combined represent complementary similarities. They each enjoy an ease of blend and enhanced quality that provides a richness of sound surpassing that of individual parts singing alone. Likewise, certain combinations of colors are naturally drawn together for their shared strengths to produce a better outcome than either could achieve individually. Reds and Yellows share strong verbal skills, are excited about change and enjoy freedom from emotional clutter. Blues and Whites are able to set ego aside, share an interest in team success and are in tune with others. Understanding how these complementary similarities function together lends insights into how to make the most of team members’ natural skills.
Sopranos singing with basses and altos singing with tenors yields the kind of results seen with complementary opposites. The higher range of a soprano blending with the opposing deep, resonant sound of a bass provide a quality of sound that is at once intriguing and beautiful. You will, no doubt, note similar complementary opposites among your co-workers. Reds like to lead and Whites are happy to follow. Whites’ sense of calm and balance tends to temper the fiery disposition of the Red. The steadiness of Blues helps ground the flightiness of Yellows. The spontaneous fun of Yellows helps to pull Blues out of their intense focus on duty and perfection. Complementary opposites are obviously great for teams as these combinations compensate for each other’s limitations and enhance each other’s natural strengths.
Every singing group has their soloists and others who we will call “blenders.” Soloists have the talent and skill to stand-alone and sing. They can be the rainmakers in an organization, the ones who get noticed. Others sometimes resent their prima dona attitude and apparent egotism. “Blenders” are those who are not particularly interested in or proficient at singing alone but are capable of skillfully singing multiple parts. They are the ones, who when added to any musical line, make everyone else singing that line sound immeasurably, almost inexplicably, better. It is not difficult to draw a work/life analogy here. Reds and Yellows are most often the soloists. They like to look good in their respective ways and are often self centered. Blues and Whites tend to be the “blenders” or worker bees. Whatever the project or assignment, they are very capable at multiple assignments and able to set ego aside for the good of the team. With their assistance, the outcome is always improved. Who are your soloists and “blenders?”
Western music is written in such a way to provide both consonant and dissonant harmony. Consonant harmony is the kind that sounds pleasing to the ear. Dissonant harmonies are those that sound almost as if a mistake has been made. Some color combinations also work together in a way that can seem almost as if a mistake has been made. The example most often cited is Reds and Blues. While the potential for a powerfully positive combination exists, this duo can readily be resoundingly dissonant. From their foundation they conflict in logic versus emotion. Reds are all about high productivity. Blues tend toward strong perfectionism. They are polar opposites regarding sensitivity. Reds lacking and Blues possessing an overabundance. The list goes on. Learning how to recognize the areas of natural synergy between this sometimes dissonant color combination is critical to success when confronted with these two power house colors. Reds and Blues are both dependable and oriented toward high achievement. They both have great loyalty: Reds to tasks and Blues to relationships. Reds provide vision and Blue can be counted on for quality. A manager must understand these shared strengths to then help the Red and Blue co-worker recognize and respect the positive traits and not focus unduly on the areas of potential conflict.
What conductors understand and managers must learn is that creating harmony in the workplace does not mean the absence of conflict or dissonance. Singers, irrespective of their part, can be dissonant with other parts or even within their own section. Likewise, all colors have the potential for discord with other colors or even someone who shares their core color. An awareness of the potential for consonant or dissonant harmonies within your organization can help to minimize unproductive differences. That same awareness can also help to explain how some disagreements can provide a dynamic source of strength as each color works through the dissonance. As with Western music, the resolution of the dissonance is where the most beautiful music is found. The same can be true in your organization.
Wendy C. Archibald, J.D., CCP, is the Dean of Students at BYU School of Law. Her involvement with Color Code began 20 years ago.
