Harmony

I. Harmony Defined ≠

“Harmonious”
Harmony:
Music’s Vertical Dimension
I. Harmony Defined
I. Defined
A. Harmony=musical element resulting from
II. CPH
III. Progressions two or more pitches (notes) sounding simultaneously
IV. Melody &
Harmony
V. Musical
Textures
VI. Consonance/
B. Harmony = Music’s “ vertical dimension”
Dissonance

Say can you see

Melodic (horizontal) Harmonic (vertical)

C. Chord=2 or more distinct pitches sounding simultaneously

Harmony:
Music’s Vertical Dimension
I. Harmony Defined
II. “ Common Practice” Harmony

III. Harmonic Progressions & the

Tonic/Dominant Polarity
IV. The Interplay of Melody and Harmony
V. Musical Textures
VI. Consonance and Dissonance
I. Defined
II. CPH
A. Most Important C. P. Harmonies Tertian (chords built from 3rds)
III. Progressions
IV. Melody &
Harmony
V. Musical
Textures
VI. Consonance/
Dissonance
I. Defined
II. CPH
A. Most Important C. P. Harmonies Tertian (chords built from
III. Progressions
3rds)
IV. Melody &
Harmony
V. Musical
Textures
B. Triad: most central of Tertian Harmonies =Triad
VI. Consonance/
Dissonance
chord of 3 notes, each separated by interval 3rd

C. Principle of Octave Equivalence

D. Triads varied via: Doubling, Spacing, Inversion

I. Defined
II. CPH
III. Progressions
IV. Melody &
Harmony
V. Musical
Textures
VI. Consonance/
Dissonance

Triad Different W/ inversion

Spacing Doubling
 I. Defined
A. Chord Progression (harmonic progression) =
II. CPH a succession of chords
III. Progressions
IV. Melody & ^1 ^3 ^5 = I
Harmony
V. Musical
^2 ^4 ^6 = II (roman
Textures
numerals = abbrev._)
VI. Consonance/
Progression
Dissonance (Pachelbel)
^3 ^5 : I-V-VI-III-IV-I-IV-V-I
^7 = III
V VI III
^5 ^5 ^7 ^2 ^6 ^1 ^3 ^3
B. Tonic (I) --- Dominant (V) Polarity
Tonic Triad: Home/Stable/Marks closure
Dominant Triad: Dynamic/Unstable/Leads to Tonic
 A. Harmony arises from the simultaneous
I. Defined
interaction of several melodies (voices)
II. CPH
III. Progressions
IV. Melody &
Harmony
V. Musical
Textures
VI. Consonance/
Dissonance
I. Defined A. Harmony arises from the simultaneous
II. CPH
III. Progressions
interaction of several melodies (voices)
IV. Melody &
Harmony
V. Musical
Textures
VI. Consonance/
Dissonance
 A. Monophonic
I. Defined
II. CPH
III. Progressions
IV. Melody &
Harmony
V. Musical
Textures
B.Homophonic
VI. Consonance/
Dissonance
1. Block Homophonic
2. Melody and Accompaniment Homophonic

C. Polyphonic
I. Defined
II. CPH
Intuitively: dissonant tones clash/sound harsh,
III. Progressions tense, unstable, need resolution
IV. Melody &
Harmony
V. Musical
Textures

Technically: a dissonant harmony usually contains

VI. Consonance/
Dissonance

a note that’s not part of a triad

I. Defined
II. CPH
III. Progressions
IV. Melody &
Harmony
V. Musical
Textures
VI. Consonance/
Dissonance