| Term | Definition |
|---|---|
| dominant | The fifth scale degree and its associated chord (V), which creates tension and typically resolves to the tonic. |
| harmonic background | The fundamental harmonic structure of a phrase, typically following the tonic-predominant-dominant-tonic progression. |
| harmonic foreground | The surface-level harmonic elaboration of a phrase in which chords are ordered in various combinations while maintaining underlying functional harmony. |
| 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. |
| predominant | A harmonic function that typically occurs between the tonic and dominant, preparing for the resolution to the dominant. |
| 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. |
| Term | Definition |
|---|---|
| deceptive progression | A harmonic progression where the dominant chord is followed by a chord other than the expected tonic, typically the submediant chord. |
| dominant chord | The fifth scale degree chord (V) that naturally resolves to the tonic, creating a strong sense of harmonic closure. |
| 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. |
| predominant chord | A chord that typically precedes the dominant chord and prepares harmonic movement toward resolution. |
| submediant chord | The chord built on the sixth scale degree, commonly used in deceptive progressions to replace the expected tonic resolution. |
| tonic chord | The chord built on the first scale degree, which establishes the tonal center and provides harmonic stability. |
| tonic substitute | A chord that can replace the tonic chord and provide a sense of resolution or stability, such as the vi chord. |
| vi chord | The chord built on the sixth scale degree, typically a minor chord in major keys and a major chord in minor keys. |
| Term | Definition |
|---|---|
| cadential ⁶₄ chord | A second-inversion chord that typically appears before a V-I cadence, functioning as an acceptable harmonic pattern in voice leading. |
| harmonic function | The role a chord plays in a harmonic progression, such as tonic, predominant, or dominant function. |
| predominant seventh chords | Seventh chords built on the fourth scale degree (or ii) that function as predominant harmony, preparing the dominant chord before a cadence. |
| predominant triads | Three-note chords (typically IV or ii) that function to prepare and lead toward the dominant chord in a harmonic progression. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| 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 |
|---|---|
| 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. |
| mediant triad | A triad built on the third scale degree (iii in minor keys, III in major keys), which functions as a secondary harmony in tonal music. |
| relative major key | The major key that shares the same key signature as a given minor key, located a minor third above it. |
| Term | Definition |
|---|---|
| authentic cadence | A cadence that moves from a dominant chord (V) to a tonic chord (I or i), creating a sense of strong harmonic resolution. |
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| 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. |
| 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.' |
| predominant function | A harmonic function that typically occurs between the tonic and dominant, preparing the resolution to the tonic through subdominant chords. |
| subdominant | The fourth scale degree and its associated chord (IV or iv), which functions as a predominant harmony leading toward the dominant or tonic. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| Term | Definition |
|---|---|
| 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. |
| arpeggiated ⁶₄ | A ⁶₄ chord that results from triad arpeggiation in the bass, where the bass arpeggiates a complete triad or oscillates between the root and fifth while upper voices remain static. |
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| cadential ⁶₄ | A sixth-four chord that occurs on a strong beat, typically preceding a V-I cadence in 18th-century harmonic practice. |
| cadential ⁶₄ chord | A second-inversion chord that typically appears before a V-I cadence, functioning as an acceptable harmonic pattern in voice leading. |
| dominant | The fifth scale degree and its associated chord (V), which creates tension and typically resolves to the tonic. |
| 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. |
| neighboring ⁶₄ | A ⁶₄ chord that occurs when the third and fifth of a root-position triad are embellished by their upper neighbor tones while the bass remains stationary, typically appearing on a weak beat. |
| passing ⁶₄ | A ⁶₄ chord that harmonizes a passing tone in the bass, typically occurring on a weak beat as part of a three-note ascending or descending scale fragment. |
| pedal ⁶₄ | A ⁶₄ chord in which the bass note remains stationary while upper voices move, often used interchangeably with neighboring ⁶₄ when describing embellished triads. |
| resolution | The movement of a chord tone, typically by step, to another chord tone, often from a dissonant interval to a consonant one. |
| second-inversion triad | A triad with the fifth of the chord in the bass position, creating a ⁶₄ figured bass notation. |
| tonic triad | A chord built on the first scale degree, serving as the primary harmonic center and point of rest in a key. |
| 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 |
|---|---|
| arpeggiated ⁶₄ | A ⁶₄ chord that results from triad arpeggiation in the bass, where the bass arpeggiates a complete triad or oscillates between the root and fifth while upper voices remain static. |
| bass passing tone | A non-harmonic tone in the bass that moves by step between two chord tones, harmonized by a passing ⁶₄ chord. |
| cadential ⁶₄ | A sixth-four chord that occurs on a strong beat, typically preceding a V-I cadence in 18th-century harmonic practice. |
| chord succession | The progression from one chord to another in a harmonic sequence. |
| diatonic sequence | A harmonic progression that uses chords built on consecutive scale degrees within a key. |
| first-inversion chord | A chord with its third as the lowest note, notated with a ⁶ symbol. |
| neighboring ⁶₄ | A ⁶₄ chord that occurs when the third and fifth of a root-position triad are embellished by their upper neighbor tones while the bass remains stationary, typically appearing on a weak beat. |
| neighboring ⁶₄ chord | A second-inversion chord that functions as a passing or embellishing chord, typically supported by a pedal tone in the bass. |
| parallel motion | Movement of two voices in the same direction by the same melodic interval. |
| passing ⁶₄ | A ⁶₄ chord that harmonizes a passing tone in the bass, typically occurring on a weak beat as part of a three-note ascending or descending scale fragment. |
| passing ⁶₄ chord | A second-inversion chord that connects two root-position or first-inversion chords in stepwise bass motion. |
| pedal ⁶₄ | A ⁶₄ chord in which the bass note remains stationary while upper voices move, often used interchangeably with neighboring ⁶₄ when describing embellished triads. |
| root-position triad | A triad with its root as the lowest note, providing the fundamental harmonic foundation. |
| stepwise motion | Movement in a melodic line by adjacent scale degrees, either ascending or descending. |
| triad arpeggiation | The breaking up of a triad into individual notes played in succession, typically in the bass of an arpeggiated ⁶₄ chord. |
| upper neighbor tone | A non-harmonic tone that is one scale degree above a chord tone and returns to that chord tone. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |