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
distance between two pitches. described by quantity (size) and quality.
melodic interval
Two notes sounded separately
harmonic interval
two notes sounded together
diatonically
Between notes within the same key or tonality
enharmonic intervals
sound the same but are spelled differently and therefore function differently
doubly augmented
When a major or perfect interval is made one whole step larger without changing the letter names of the pitches
doubly diminished
When a minor or perfect interval is made one whole step smaller without changing the letter names of the pitches
simple intervals
intervals that are one octave or smaller in quantity
compound intervals
intervals that are larger than an octave
inverted interval
transferring the lower note an octave higher or 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
P1 and P8 (most stable consonances)
P5, M3, m3, M6, m6
(sometimes P4)
dissonant intervals
M2, m2, M7, m7, all augmented and diminished intervals and sometimes P4 (which is generally considered a dissonance when used harmonically above the bass)
resolution
the motion of the dissonant interval to the consonant that acts as its goal
triad
a three-note chord made up of two intervals stacked in thirds
tertian harmony
harmony built on thirds, used during the Common Practice Period
seventh chord
Contains four notes: A root, third, fifth, and seventh
* seventh chords are considered dissonant