Consonance:  everything can be consonant… even the tritone! 🙂

Dissonance: TT and beats… not absolutely related to intervals as in other theories.

(consonance and dissonance are overused in music theory and thus an alternative is sought)

Tritone: front and center like in no other theory.  Not to be avoided but rather recognized for the signpost that it is and how it hold everything together.

(heptatonic) Scale: A collection of seven modes connected by one, two, or three tritones.

Tonic: Defined in KCM as having “weak tritones”; in a chord, they are in the second octave.
Dominant: Defined in KCM as having “strong tritones”; in a chord, they are in the first octave.  Should not be used to designate a chord quality in KCM; major-minor should be used instead.  This way, Dom refers exclusively to a harmonic expectation within a scale.
Subdominat: Defined in KCM as having “ambiguous tritones”; In a chord, they span the first and second octave.  Like above, should not be used to designate anything but harmonic expectations in a major scale.

Functional Harmony: KCM attributes functional harmony to the avoidance of tritone and beats within a 13th chord.  The rules of counterpoint SHOULD be present in KCM but they are a result of the axioms, not axioms themselves.