Chapter 5 - Harmonic Organization 1: Intervals, Triads, and Seventh Chords

Harmony

The way notes are simultaneously sounded, creating a vertical element to music

Counterpoint

A single melody line or linear voice added to another line or voice

Interval

The distance between two pitches

intervals can be

melodic or harmonic

Quality

Expressed by a number and determined by counting the distance between one letter name and the next letter name

Perfect intervals

* Unison
* Perfect fourth
* Perfect fifth
* Perfect eighth

Major intervals

* Major second
* Major third
* Major sixth
* Major seventh

Diminished interval

An interval that is one half step smaller than perfect or minor

Augmented interval

An interval that is one half step larger than major or perfect

Only diatonic augmented or diminished interval

augmented fourth or diminished fifth

Tritone

The augmentet fourth

Enharmonic intervals

They sound the same but are spelled differently and function differently

Doubly augmented interval

When a major or perfect interval is made one whole step larger without changing the letter names of the pitches

Doubly diminished interval

When a minor or perfect interval is made one whole step smaller without changing the letter names of the pitches

If the top note is in the major key of the bottom note

then it is **major or perfect.**

If the top note is a half step lower than the diatonic note would be

then it is a **minor or diminished interval.**

If the top note is a half step higher than the diatonic note would be

then it is an **augmented interval.**

If an interval is perfect

then both top and bottom pitches **are in the other’s major key.**

If the same accidental is added to both upper and lower pitches

then the **interval remains the same.**

If an accidental is added only to the bottom pitch

then **the accidental has the opposite effect** than when added to the note above:

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* If a flat is added to the lower pitch, the **interval is larger.**
* If a sharp is added to the lower pitch, the **interval is smaller.**

If the lower notes don’t represent a standard key

then **determine what the interval would be without the accidental and adjust.**

Simple intervals

Intervals that are one octave or smaller in quantity

Compound intervals

Intervals that are larger than an octave

Inverted intervals

Intervals are inverted by transferring the lower note an octave higher or by transferring the higher note an octave lower

The rule of nine

When any simple interval is inverted, the sum of the ascending and descending intervals must add up to nine

Consonant intervals

Stable

Dissonant intervals

Unstable, the impression of activity or tension

Resolution

The motion of the dissonant interval to the consonant that acts as its goal

intervals that may exist within any fourt-part composition

* **A-S,** Alto and Soprano
* **T-S,** Tenor and Soprano
* **T-A,** Tenor and Alto
* **B-S,** Bass and Soprano
* **B-A,** Bass and Alto
* **B-T,** Bass and Tenor

Chord

A group of pitches that forms a single harmonic idea

Triad

A three-note chord made up of two intervals stacked in thirds

Root

The lower note of the chord

Third

The middle note because its an interval of a third above the root

Fifth

The upper note, its a fifth above the root

Tertian harmony

Harmony built on thirds

Inversions

Triads that have a chord member other than the root as the lowest sounding voice (the bass)

Root position

The root of the chord is the bass

First inversion

The third of the chord is in the bass

Second inversion

The fifth of the chord is in the bass

Seventh chords

Considered unstable

Five basic seventh chords

* **Major seventh or major triad** - MM7
* **Dominant seventh or major minor seventh** - Mm7
* **Half-diminished seventh or minor seventh** - dim m7
* **Fully diminished 7** - dim dim7