In music analysis, the macroharmony is what comprises the discrete pitch classes within a given (structural) duration of time.
[4] Ciro Scotto wrote that it is "a large harmony that subsumes the individual chords", adding that he used it more specifically to denote pitch-class subsets.
[5] Julian Hook related it to the concept of a field of pitch classes, noting that the difference was one of terminology.
[6] Tymoczko sought to discuss "music that is neither classically tonal nor completely atonal" (see chromaticism and nonchord tones).
The others were conjunct melodic motion, acoustic consonance, harmonic consistency, and pitch centricity.