overtone

An overtone is a frequency component of a sound — it is a sound phenomenon. Remove sound and overtones literally cease to operate. This passes the object-level removal test (Law 8): overtones depend on sound for their very existence as acoustic events.

An overtone is defined as a frequency component above a fundamental pitch. Remove the concept of pitch and overtone loses its operative framework — it cannot specify what frequency it is above. Per Law 8 removal test: X stops operating without Y.

An overtone is defined as a frequency component above a fundamental pitch. Remove the concept of frequency and overtone cannot specify what kind of value it is — it stops operating as a musical term. The removal test passes.

Timbre is the quality distinguishing sound sources at the same pitch and loudness. It is defined by the overtone structure (which overtones exist, their amplitudes and evolution). Remove the concept of overtone and timbre loses its defining mechanism — it cannot distinguish sound qualities. Per Law 8 removal test: X stops operating without Y.

Harmonic-series is the analysis of the overtone structure of sound. Remove the concept of overtone and harmonic-series has nothing to analyze — it ceases to operate as a musical analytical framework. Per Law 8 removal test: no overtone concept = no harmonic-series operation.

Consonance is defined as the quality of harmonic compatibility between pitches, determined by the relationship of their overtone series. Remove the concept of overtone and consonance cannot operate — there would be no framework for describing how pitch relationships are perceived as stable or unstable. This is a constitutive dependency, not mere association.

Harmonic is a specific kind of overtone: an overtone whose frequency is exactly an integer multiple of the fundamental. A competent speaker would describe a harmonic as a kind of overtone. Per Law 9: specific→general. Not all overtones are harmonics (inharmonic overtones exist), but every harmonic is an overtone.