| Term | Definition |
|---|---|
| 18th-century chorale | A hymn-like composition from the Baroque period, typically featuring four-part harmony with a soprano melody and supporting bass, alto, and tenor lines. |
| Arabic numerals | Numbers (1, 2, 3, etc.) used in figured bass notation to denote specific intervals above a given bass note. |
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| cadential ⁶₄ chord | A second-inversion chord that typically appears before a V-I cadence, functioning as an acceptable harmonic pattern in voice leading. |
| change in direction | A shift in melodic contour from ascending to descending motion or vice versa. |
| 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 spelling | The correct arrangement of the notes of a chord, including all necessary accidentals, to properly represent the harmonic function indicated by Roman numerals or figured bass. |
| chord tone | Any of the individual notes that make up a harmonic chord. |
| chromatically altered pitches | Pitches that are raised or lowered by a semitone from their diatonic position within a key. |
| chromatically inflected pitch | A note that has been altered from its diatonic pitch by the addition of an accidental. |
| close position | A chord spacing where all upper parts are placed as close together as chord tones will allow. |
| common practice era | The period of Western classical music, roughly from 1650 to 1900, characterized by specific conventions of harmony and voice leading. |
| common tones | Pitches that are shared between adjacent chords and should be retained in the same voice part to ensure smooth voice leading. |
| conclusive cadences | Cadences that provide a sense of finality and closure, including perfect authentic and plagal cadences. |
| contrary motion | Movement of two voices in opposite directions. |
| counterpoint | The practice of composing polyphonic music using historical conventions, and the resulting texture of independent melodic lines. |
| cross relation | The prohibited occurrence of a preinflected pitch in one voice directly preceding a chromatically inflected version of that same pitch in another voice. |
| deceptive cadence | A cadence that avoids the expected V-I resolution of an authentic cadence by substituting a non-tonic chord for the tonic. |
| dictation | The process of listening to performed music and notating the pitches and rhythms heard. |
| diminished fifth | An interval spanning five letter names that is one semitone smaller than a perfect fifth, typically requiring proper resolution in counterpoint. |
| dominant triad | A chord built on the fifth scale degree, which creates tension and typically resolves to the tonic. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| downward motion | Melodic movement in which successive pitches descend in pitch. |
| eighth notes | Musical notes with a duration equal to one eighth of a whole note. |
| half cadence | An inconclusive cadence that typically ends on the dominant chord (V). |
| half notes | Musical notes with a duration equal to half of a whole note. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| imperfect authentic cadence | An inconclusive cadence created by a V-I progression where chords may be inverted and any chord tone may appear in the soprano. |
| inconclusive cadences | Cadences that do not provide a sense of finality, including half, imperfect authentic, and deceptive cadences. |
| leading tone | The seventh scale degree in a major scale, located one half step below the tonic with a strong tendency to resolve upward to the tonic. |
| major key | A key or tonal center based on a major scale, characterized by a specific pattern of whole and half steps. |
| melodic interest | The quality of a melody that engages the listener through varied and compelling musical ideas. |
| melodic leaps | Movement between non-adjacent pitches in a melody, typically larger than a second. |
| minor key | A key or tonal center based on a minor scale, characterized by a different pattern of whole and half steps than major keys. |
| neighboring ⁶₄ chord | A second-inversion chord that functions as a passing or embellishing chord, typically supported by a pedal tone in the bass. |
| note values | The relative duration of musical notes, such as whole notes, half notes, quarter notes, and eighth notes. |
| note-against-note dissonances | Dissonant intervals that occur between outer voices simultaneously and must imply an acceptable harmonic progression. |
| oblique motion | Movement where one voice remains stationary while the second voice moves up or down. |
| octave leap | A melodic jump spanning eight letter names, requiring a change in direction in the bass line. |
| open position | A chord spacing where the upper parts are spaced more widely apart than in close position. |
| outer voices | The soprano and bass lines in a harmonic progression, which provide structural and harmonic information. |
| parallel fifths | The prohibited motion of two voices moving in the same direction to consecutive perfect fifth intervals. |
| parallel motion | Movement of two voices in the same direction by the same melodic interval. |
| parallel octaves | The prohibited motion of two voices moving in the same direction to consecutive perfect octave intervals. |
| passing ⁶₄ chord | A second-inversion chord that connects two root-position or first-inversion chords in stepwise bass motion. |
| perfect authentic cadence | A conclusive cadence created by a V-I progression with both harmonies in root position, ending with scale degree 1 in the soprano. |
| perfect fifth | An interval spanning five letter names with a frequency ratio of 3:2, considered a perfect consonance in tonal music. |
| perfect fourth | An interval spanning four letter names with a frequency ratio of 4:3, considered a perfect consonance in tonal music. |
| phrases | Complete musical utterances that form syntactical units in music and typically conclude with a cadence. |
| Phrygian half cadence | A cadence that moves from a subdominant chord in first inversion (iv⁶) to a dominant chord (V), used in minor keys only. |
| plagal cadence | A cadence that moves from a subdominant chord (IV or iv) to a tonic chord (I or i), also known as an 'Amen cadence.' |
| quarter notes | Musical notes with a duration equal to one quarter of a whole note. |
| repeated bass notes | The same pitch sounded consecutively in the bass line, subject to specific restrictions regarding beat placement. |
| rhythmic profile | The characteristic pattern of note values and rhythmic patterns that define the style of a musical line. |
| 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. |
| SATB order | The arrangement of voices from highest to lowest as soprano, alto, tenor, and bass to maintain proper voice crossing conventions. |
| scale degree 1 | The tonic note, the first degree of a musical scale. |
| similar motion | Movement of two voices in the same direction but not by the same melodic interval. |
| soprano line | The highest melodic line in a musical composition, typically sung by the highest voices or played by the highest instruments. |
| spacing | The vertical distance between adjacent voices in a chord, which affects the clarity and balance of the harmonic sound. |
| step | A melodic interval that traverses adjacent pitches with neighboring letter names. |
| stepwise motion | Movement in a melodic line by adjacent scale degrees, either ascending or descending. |
| strong beat | A beat in a measure that receives primary emphasis, typically the first beat or other metrically accented beats. |
| subdominant triad | A chord built on the fourth scale degree, typically used to move toward the dominant or return to the tonic. |
| supertonic triad | A chord built on the second scale degree of a major or minor scale. |
| suspension | A nonharmonic tone created when a note from a previous chord is held or rearticulated over a new chord before resolving downward by step to a chord tone. |
| tendency tones | Scale degrees that have a strong inclination to resolve to a specific neighboring pitch, such as the leading tone resolving upward to the tonic. |
| tonic triad | A chord built on the first scale degree, serving as the primary harmonic center and point of rest in a key. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| upward motion | Melodic movement in which successive pitches ascend in pitch. |
| voice crossing | The inappropriate overlap of pitch ranges between adjacent voices, which should be avoided for clarity of voice leading. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| weak beat | A beat in a measure that receives less emphasis than the downbeat or other strong beats. |
| Term | Definition |
|---|---|
| 18th-century voice leading | The normative conventions and procedures for connecting chords and moving voices established during the Common Practice Period of the 18th century. |
| ⁶₄ chord | A second-inversion triad where the fifth of the chord appears in the bass, notated with the figured bass symbols 6 and 4. |
| accidental | A symbol that modifies the pitch of a note, such as a sharp, flat, or natural. |
| alto | The second-highest voice part in SATB four-voice texture, positioned between soprano and tenor. |
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| chorale harmonization | The process of arranging a melody with harmonic accompaniment in SATB four-voice texture, commonly used in music theory exercises. |
| chord spelling | The correct arrangement of the notes of a chord, including all necessary accidentals, to properly represent the harmonic function indicated by Roman numerals or figured bass. |
| chord tones | The individual pitches that make up a harmonic chord. |
| chord voicing | The arrangement and distribution of the notes of a chord across different voices and pitch ranges. |
| contrary motion | Movement of two voices in opposite directions. |
| diminished fifth | An interval spanning five letter names that is one semitone smaller than a perfect fifth, typically requiring proper resolution in counterpoint. |
| direct fifths | A voice-leading error where two voices approach a perfect fifth by similar motion, also called hidden fifths. |
| direct octaves | A voice-leading error where two voices approach a perfect octave by similar motion, also called hidden octaves. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| fifth | The interval of a fifth above the root of a chord, or the note that is a fifth above the root. |
| 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. |
| four-voice texture | A musical arrangement consisting of four distinct voice parts or lines, typically organized as SATB. |
| harmonic intervals | The vertical distance between two notes sounding simultaneously in different voices. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| inverted triad | A triad in which a note other than the root appears in the bass, either first inversion (⁶) or second inversion (⁶₄). |
| leading-tone | The seventh scale degree, which has a strong tendency to resolve upward to the tonic. |
| musical lines | Individual melodic strands or voices that can be identified and tracked within a musical composition. |
| oblique motion | Movement where one voice remains stationary while the second voice moves up or down. |
| outer voices | The soprano and bass lines in a harmonic progression, which provide structural and harmonic information. |
| overlapping voices | A voice-leading error where one voice crosses above or below the pitch of an adjacent voice. |
| parallel motion | Movement of two voices in the same direction by the same melodic interval. |
| perfect fifth | An interval spanning five letter names with a frequency ratio of 3:2, considered a perfect consonance in tonal music. |
| perfect interval | A harmonic interval (unison, fourth, fifth, or octave) that is considered consonant and stable. |
| pitch position | The relative height or register of a musical line in relation to other lines in a composition. |
| Roman numeral progression | A harmonic progression notated using Roman numerals to indicate chord function and quality. |
| root | The fundamental note of a chord upon which the chord is built. |
| root-position seventh chord | A seventh chord with the root in the lowest voice. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| similar motion | Movement of two voices in the same direction but not by the same melodic interval. |
| sixths | An interval spanning six letter names, such as C to A. |
| soprano line | The highest melodic line in a musical composition, typically sung by the highest voices or played by the highest instruments. |
| spacing | The vertical distance between adjacent voices in a chord, which affects the clarity and balance of the harmonic sound. |
| tendency tone | A note that has a strong inclination to resolve to a specific neighboring pitch, typically the leading tone resolving to the tonic or the fourth scale degree resolving downward. |
| tenor | The second-lowest voice part in SATB four-voice texture, positioned between alto and bass. |
| third | The interval of a third above the root of a chord, or the note that is a third above the root. |
| thirds | An interval spanning three letter names, such as C to E. |
| tonic triad | A chord built on the first scale degree, serving as the primary harmonic center and point of rest in a key. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| triads | Three-note chords consisting of a root, third, and fifth. |
| unequal fifths | A voice-leading error where fifths of different quality (perfect and diminished, or perfect and augmented) occur in succession. |
| V⁷ | The dominant seventh chord, built on the fifth scale degree with an added minor seventh above the root. |
| voice independence | The clarity and distinctness of individual voices maintained through proper voice leading and spacing. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| common practice | The system of tonal musical organization that prevailed in Western music from approximately 1650 to 1900. |
| conclusive cadence | A cadence that provides a strong sense of harmonic repose and finality, typically ending on the tonic. |
| deceptive cadence | A cadence that avoids the expected V-I resolution of an authentic cadence by substituting a non-tonic chord for the tonic. |
| dominant | The fifth scale degree and its associated chord (V), which creates tension and typically resolves to the tonic. |
| half cadence | An inconclusive cadence that typically ends on the dominant chord (V). |
| harmonic function | The role a chord plays in a harmonic progression, such as tonic, predominant, or dominant function. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| harmonic rhythm | The rate at which chords change in a given musical passage or composition. |
| imperfect authentic cadence | An inconclusive cadence created by a V-I progression where chords may be inverted and any chord tone may appear in the soprano. |
| inconclusive cadence | A cadence that does not provide a sense of finality or completion, typically ending on a non-tonic harmony. |
| inversions | Different voicings of a chord where the root is not in the lowest voice, indicated by Arabic numerals in harmonic analysis. |
| musical form | The overall structural organization and design of a musical composition. |
| perfect authentic cadence | A conclusive cadence created by a V-I progression with both harmonies in root position, ending with scale degree 1 in the soprano. |
| phrase structure | The organization and division of musical material into distinct sections or phrases. |
| Picardy third | A major tonic chord that ends a section in a minor key, creating a distinctive harmonic effect. |
| plagal cadence | A cadence that moves from a subdominant chord (IV or iv) to a tonic chord (I or i), also known as an 'Amen cadence.' |
| predominant | A harmonic function that typically occurs between the tonic and dominant, preparing for the resolution to the dominant. |
| retrogression | A chord progression that deviates from common-practice norms, such as V to IV, which is generally avoided in traditional tonal composition. |
| 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. |
| soprano line | The highest melodic line in a musical composition, typically sung by the highest voices or played by the highest instruments. |
| tonal | Music organized around a central pitch (tonic) where all other pitches relate hierarchically in a pre-established system. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| Term | Definition |
|---|---|
| ascending leap | Movement upward by an interval larger than a step. |
| common tone | A note that appears in both consecutive chords and can be retained in the same voice to create smooth voice leading. |
| contextual listening | The practice of listening to and analyzing music within its historical and stylistic context. |
| descending leap | Movement downward by an interval larger than a step. |
| descending step | Movement downward to an adjacent lower scale degree. |
| 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. |
| doubled | When a note appears in more than one voice in a chord. |
| error detection | The identification of voice-leading mistakes or violations of compositional conventions in musical writing. |
| fifth of a chord | The interval of a fifth above the root of a chord. |
| four-voice texture | A musical arrangement consisting of four distinct voice parts or lines, typically organized as SATB. |
| I-V⁴₃-I⁶ progression | A specific chord progression from tonic to dominant seventh in second inversion to tonic in first inversion. |
| inverted seventh chord | A seventh chord with a note other than the root in the lowest voice. |
| leap | A melodic interval larger than a step, traversing pitches that are not adjacent letter names. |
| part-writing | The process of composing individual melodic lines for each voice in a multi-voice musical texture. |
| root | The fundamental note of a chord upon which the chord is built. |
| root-position seventh chord | A seventh chord with the root in the lowest voice. |
| score analysis | The examination and study of musical scores to understand compositional techniques and voice-leading procedures. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| step | A melodic interval that traverses adjacent pitches with neighboring letter names. |
| V⁴₃ chord | A dominant seventh chord in second inversion, with the seventh in the bass and specific voice-leading conventions. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| diminished seventh chord | A four-note chord built on a root with a minor third, diminished fifth, and diminished seventh. |
| dominant function | The harmonic role of chords built on the fifth scale degree that create tension and pull toward resolution to the tonic. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| leading-tone seventh chord | A seventh chord built on the seventh scale degree (vii°⁷ or vii⁰⁷), functioning either as a dominant substitute or as a tonic prolongation. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| stepwise motion | Movement in a melodic line by adjacent scale degrees, either ascending or descending. |
| tendency tone | A note that has a strong inclination to resolve to a specific neighboring pitch, typically the leading tone resolving to the tonic or the fourth scale degree resolving downward. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |