Musics Vertical Dimension Harmony I Harmony Defined Harmony

Music’s Vertical Dimension: Harmony

I. Harmony Defined ≠ Harmony “Harmonious”

Harmony: Music’s Vertical Dimension I. Harmony Defined

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

II. Common Practice Harmony 1600 -1900 + � I. Defined II. CPH III. Progressions IV. Melody & Harmony V. Musical Textures VI. Consonance/ Dissonance A. Most Important C. P. Harmonies Tertian (chords built from 3 rds)

II. Common Practice Harmony � I. Defined II. CPH III. Progressions IV. Melody & Harmony V. Musical Textures VI. Consonance/ Dissonance A. Most Important C. P. Harmonies Tertian (chords built from 3 rds) B. Triad: most central of Tertian Harmonies =Triad chord of 3 notes, each separated by interval 3 rd C. Principle of Octave Equivalence D. Triads varied via: Doubling, Spacing, Inversion

II. Common Practice Harmony � I. Defined II. CPH III. Progressions IV. Melody & Harmony V. Musical Textures VI. Consonance/ Dissonance Triad Different Spacing W/ inversion Doubling

III. Harmonic Progressions and the Tonic/Dominant Polarity � I. Defined A. Chord Progression (harmonic progression) = a succession of chords II. CPH III. Progressions IV. Melody & Harmony V. Musical Textures VI. Consonance/ Dissonance ^1 ^3 ^5 = I ^2 ^4 ^6 = II (roman numerals = abbrev. _) Sample (Pachelbel) ^3 Progression ^5 ^7 = III : I-V-VI-III-IV-V-I I V ^1 ^3 ^5 B. Tonic (I) VI ^5 ^7 ^2 III ^6 ^1 ^3 ^3 --- Dominant (V) Polarity Tonic Triad: Home/Stable/Marks closure Dominant Triad: Dynamic/Unstable/Leads to Tonic

IV. The Interplay of Melody and Harmony � I. Defined II. CPH III. Progressions IV. Melody & Harmony V. Musical Textures VI. Consonance/ Dissonance A. Harmony arises from the simultaneous interaction of several melodies (voices)

IV. The Interplay of Melody and Harmony � I. Defined II. CPH III. Progressions IV. Melody & Harmony V. Musical Textures VI. Consonance/ Dissonance A. Harmony arises from the simultaneous interaction of several melodies (voices)

V. Musical Textures � I. Defined II. CPH A. Monophonic III. Progressions IV. Melody & Harmony V. Musical Textures VI. Consonance/ Dissonance B. Homophonic 1. Block Homophonic 2. Melody and Accompaniment Homophonic C. Polyphonic

VI. Consonance and Dissonance � I. Defined II. CPH III. Progressions Intuitively: dissonant tones clash/sound harsh, tense, unstable, need resolution IV. Melody & Harmony V. Musical Textures VI. Consonance/ Dissonance Technically: a dissonant harmony usually contains a note that’s not part of a triad

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