CH 8- Harmony part 1

Melody

The tune of a song that is the most memorable part

Supportive chords

The harmonic foundation built beneath a melody; a melodic tone can be harmonized with a chord as long as the chord has the melodic tone in it

Point for point

Compositional technique where a melody is harmonized according to that notes triad; each melody note has three choices for chords, which leads to lots of options

Chord tone

Any individual note that makes up a specific chord

Passing Chord

non-chord tone that bridges the gap between two different chord tones by stepping through them in a single direction

Key Control

The management, selection, and manipulation of a songs tonal center; can control mood by choosing either related major or minor

True Melodic harmonization

Building consonant chords that accompany lines around a primary melody- supports it both harmonically and emotionally

Unison/ octave

Interval: Not harmony, effects of double harmony can add textures

Seconds

Interval: Verges on edge of tension and dissonance, can work at certain points of color, rarely more than one in a row

Thirds

Interval: Always sounds nice and works great in parallel; common harmonization

Fourths

Interval: Can be nice but leads to major voice leading issues when used in parallel

Fifths

Interval: Consonant intervals that work well; using in parallel causes voice leading issues and causes music to sound like Gregorian chant

Sixths

Interval: Inverse of thirds and always sound great- also work well in parallel motion

Sevenths

Interval: Dissonant/tense interval rarely seen in succession one after another; when used sparingly they can add the perfect color

Parallel Motion

One voice follows the exact shape of the original melody

Voice leading

How individual notes in a chord progression move horizontally from one chord to the next

Single Line harmony

Chord that are not in a vertical since since it is played by single-line instruments; harmony is implied