Understanding Basic Music Theory, 2013a

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• harmonic rhythm - The harmonic rhythm of a piece refers to how often the chords change. Music in
which the chords change rarely has a slow harmonic rhythm; music in which the chords change often
has a fast harmonic rhythm. Harmonic rhythm can be completely separate from other rhythms and
tempos. For example, a section of music with many short, quick notes but only one chord has fast
rhythms but a slow harmonic rhythm.
• cadence - A cadence is a point where the music feels as if it has come to a temporary or permanent
stopping point. In most Western (Section 2.8) music, cadence is tied very strongly to the harmony.
For example, most listeners will feel that the strongest, most satisfying ending to a piece of music
involves a dominant chord (Section 5.5.4: Naming Chords Within a Key) followed by a tonic chord
(Section 5.5.4: Naming Chords Within a Key). In fact, a song that does not end on the tonic chord
will sound quite unsettled and even unnished to most listeners. (See Cadence (Section 5.6).)
• diatonic - Diatonic (p. 88) harmony stays in a particular major (Section 4.3) or minor (Section 4.4)
key.
• chromatic - Chromatic (p. 88) harmony includes many notes and chords that are not in the key and
so contains many accidentals (p. 15).
• dissonance - A dissonance is a note, chord, or interval (Section 4.5) that does not t into the triadic
(Section 5.1) harmonies that we have learned to expect from music. A dissonance may sound surprising,
jarring, even unpleasant.
Accompaniment
• accompaniment - All the parts of the music that are not melody are part of the accompaniment.
This includes rhythmic parts, harmonies, the bass line, and chords.
• melodic line - This is just another term for the string of notes that make up the melody (Section 2.3).
• bass line - The bass line is the string of notes that are the lowest notes being sung or played. Because
of basic laws of physics, the bass line sets up the harmonics (Section 3.3) that all the other parts -
including the melody - must t into. This makes it a very important line both for tuning (Section 6.2)
and for the harmony. The bass line also often outlines the chord progression (Chords, p. 80), and it is
often the most noticeable line of the accompaniment.
• inner parts or inner voices - Accompaniment parts that ll in the music in between the melody
(which is often the highest part) and the bass line.
• descant - The melody is not always the highest line in the music. Attention is naturally drawn to high
notes, so a part that is higher than the melody is sometimes given a special name such as "descant".
This term is an old one going all the way back to when harmonies rst began to be added to medieval
chant. (See Counterpoint (p. 82) for more about descants.)
Suggestions for activities that introduce young students to harmony may be found in Harmony with Drones 34 ,
Simple Chordal Harmony 35 , Parallel Harmonies 36 , and Independent Harmonies 37 .
2.6 Counterpoint 38
2.6.1 Introduction
Counterpoint is an important element of music, but it is not one of the basic elements. Many pieces of music
have rhythm (Section 2.1), melody (Section 2.3), harmony (Section 2.5), color (Section 2.2), and texture
(Section 2.4), but no real counterpoint. In fact, when describing the texture of a piece of music, two of the
most important questions that need to be addressed are: is there counterpoint, and how important is it?
34 "Harmony with Drones"
35 "Simple Chordal Harmony"
36 "Parallel Harmonies"
37 "Independent Harmonies"
38 This content is available online at .
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