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Harmony is one of primary components that supports the melodic line. Pitches of the melody are reinforced by the chords in the harmonic progression. The speed and direction of the melodic line is often supported by the speed at which chords are changed, and the patterns created by the changing chords: harmonic rhythm.
The expectations of harmonic progression create a sequence of chords which will present areas of tension and areas of repose within the musical composition. The tendencies of harmonic motion do much to shape the momentum of a piece of music, and can greatly enhance the character of the melodic line and musical message. Performers utilize the psychological tendencies of harmonic progression; exploiting its directional and dramatic tendancies. The expectations of harmonic movement and the psychological characteristics of harmonic progression have become important aspects of musical expression and musical performance.
The melodic and harmonic pitch materials are related through tonal organization. Certain pitch materials are emphasized over others, in varying degrees, in nearly all music. This emphasis creates systems of tonal organization in which a hierarchy of pitch levels exist. A hierarchy will most often place one pitch in a predominant role, with all other pitches having functions of varying importance, in supporting the primary pitch. The primary pitch, or tonal center, becomes a reference level, to which all pitch material is related, and around which pitch patterns are organized.
Many tonal organization systems exist. These systems tend to vary significantly by cultures, with most cultures using several different, but related systems. The "major" and "minor" tonal organization systems of Western music are examples of different, but related systems; as are the "whole-tone" and "pentatonic" systems of Eastern Asia. The reader should consult appropriate music theory texts for more detailed information on tonal organization, as necessary.
Certain components of pitch levels and relationships have become more prominent in musical contexts (and other areas of audio) because of the artistic treatment pitch relationships have received in music recordings. The components of range, register, textural density, and pitch area are able to be more closely controlled in recorded music, than in live (unamplified) performance. These components are more important in recorded music, because they are precisely controllable by the technology, and they have been controlled to support and enhance the musical material.
Range is the span of pitches of a sound source (or of any instrument or voice). Range is the area of pitches that encompasses the highest note possible (or present in a certain musical example or context) to the lowest note possible (or present) in a particular sound source.
A register is a portion of a sound source's range. A register will have a unique character (such as a unique timbre, or some other determining factor) that will differentiate it from all other areas of the same range. It is a small area within the source's range, that is unique in some way. Ranges are often divided into many registers; registers may encompass a very small group of successive pitches, up to a considerable portion of the source's range.
A pitch area is a portion of any range (or of a register) that may or may not exhibit characteristics that are unique from other areas. Instead, it is a defined area between an upper and a lower pitch-level, in which a specific activity or sound exists.
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