| Term | Definition |
|---|---|
| arpeggiation | The use of arpeggios, where successive pitches of a chord are played individually rather than simultaneously. |
| augmented triad | A three-note chord indicated by an uppercase Roman numeral with a plus sign (+), consisting of a root, major third, and augmented fifth. |
| chord | Three or more pitches sounding simultaneously, or successive pitches that form a perceived grouping, often through arpeggiation. |
| chord quality | The classification of a chord based on the specific intervals between its pitches, such as major, minor, diminished, or augmented. |
| diminished triad | A three-note chord built on a root with a minor third and a diminished fifth. |
| fifth | The interval of a fifth above the root of a chord, or the note that is a fifth above the root. |
| major triad | A three-note chord built on a root with a major third and a perfect fifth. |
| minor triad | A three-note chord built on a root with a minor third and a perfect fifth. |
| root | The fundamental note of a chord upon which the chord is built. |
| seventh | The fourth pitch of a seventh chord when stacked in thirds above the root. |
| seventh chord | A chord containing four notes built in thirds, consisting of a triad plus an additional note a seventh above the root. |
| third | The interval of a third above the root of a chord, or the note that is a third above the root. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| Term | Definition |
|---|---|
| Arabic numerals | Numbers (1, 2, 3, etc.) used in figured bass notation to denote specific intervals above a given bass note. |
| augmented triad | A three-note chord indicated by an uppercase Roman numeral with a plus sign (+), consisting of a root, major third, and augmented fifth. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| chord quality | The classification of a chord based on the specific intervals between its pitches, such as major, minor, diminished, or augmented. |
| diatonic chords | Chords built on the scale degrees of a given key using only the notes of that key. |
| diminished triad | A three-note chord built on a root with a minor third and a diminished fifth. |
| dominant seventh chord | A seventh chord built on the fifth scale degree of a key, typically used to create harmonic tension that resolves to the tonic. |
| major triad | A three-note chord built on a root with a major third and a perfect fifth. |
| mediant | The third scale degree, located in the middle between the tonic and dominant. |
| minor triad | A three-note chord built on a root with a minor third and a perfect fifth. |
| Roman numeral analysis | A system of notation using Roman numerals to identify chords and their harmonic function within a key. |
| root | The fundamental note of a chord upon which the chord is built. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| subdominant | The fourth scale degree and its associated chord (IV or iv), which functions as a predominant harmony leading toward the dominant or tonic. |
| supertonic | The second scale degree, located one step above the tonic. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| triads | Three-note chords consisting of a root, third, and fifth. |
| Term | Definition |
|---|---|
| accidental | A symbol that modifies the pitch of a note, such as a sharp, flat, or natural. |
| Arabic numerals | Numbers (1, 2, 3, etc.) used in figured bass notation to denote specific intervals above a given bass note. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| chord quality | The classification of a chord based on the specific intervals between its pitches, such as major, minor, diminished, or augmented. |
| figured bass | A notational system using Arabic numerals below a bass note to indicate the intervals and pitches of the chord to be played above that bass note. |
| first inversion | A chord voicing in which the chordal third appears in the bass. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| intervals | The distance in pitch between two notes, indicated by figured bass numbers to show the relationship between the bass note and upper voices. |
| lead sheet | A notated musical score that includes melody with chord labels (letter-name and quality abbreviations) appearing above the staff to indicate chord progressions. |
| plus sign | A symbol used in figured bass to indicate that a pitch denoted by a figure should be raised a half step. |
| Roman numeral analysis | A system of notation using Roman numerals to identify chords and their harmonic function within a key. |
| root position | A chord voicing in which the chordal root appears in the bass (lowest part) of the chord. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| second inversion | A chord voicing in which the chordal fifth appears in the bass. |
| slash | A symbol used in figured bass to indicate that a pitch denoted by a figure should be raised a half step. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| Term | Definition |
|---|---|
| chordal dissonance | A chord member, such as a chordal seventh, that possesses a natural inclination to resolve. |
| dominant seventh | A major-minor seventh chord that exercises a dominant function, built on the fifth scale degree and resolving to the tonic. |
| fully-diminished seventh | A seventh chord with a diminished triad and a diminished seventh interval above the root, notated as °7 or dd. |
| half-diminished seventh | A seventh chord with a diminished triad and a minor seventh interval above the root, notated as ø7 or dm. |
| major seventh | A seventh chord with a major triad and a major seventh interval above the root, notated as MM or M7. |
| major-minor seventh | A seventh chord with a major triad and a minor seventh interval above the root, also called a dominant seventh, notated as Mm7. |
| minor seventh | A seventh chord with a minor triad and a minor seventh interval above the root, notated as mm or m7. |
| seventh chord | A chord containing four notes built in thirds, consisting of a triad plus an additional note a seventh above the root. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| Term | Definition |
|---|---|
| Arabic numerals | Numbers (1, 2, 3, etc.) used in figured bass notation to denote specific intervals above a given bass note. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| quality | The characteristic sound of a chord determined by the intervals between its notes (major, minor, dominant, half-diminished, diminished). |
| Roman numeral analysis | A system of notation using Roman numerals to identify chords and their harmonic function within a key. |
| root | The fundamental note of a chord upon which the chord is built. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| third inversion | A chord inversion in which the chordal seventh appears in the bass, occurring only with seventh chords. |