Glossary
4/2 (Third Inversion Seventh Chord Figured Bass)
A figured bass symbol indicating a seventh chord in third inversion, where the seventh of the chord is in the bass.
Example:
When a bass note is marked with 4/2 (Third Inversion Seventh Chord Figured Bass), the chord's seventh is the lowest note, creating a strong sense of instability.
4/3 (Second Inversion Seventh Chord Figured Bass)
A figured bass symbol indicating a seventh chord in second inversion, where the fifth of the chord is in the bass.
Example:
A bass note with 4/3 (Second Inversion Seventh Chord Figured Bass) means the chord's fifth is the lowest note, and it's a seventh chord.
6 (6/3) (First Inversion Figured Bass)
A figured bass symbol indicating a first inversion triad, where the third of the chord is in the bass.
Example:
Seeing a bass note with a 6 (6/3) (First Inversion Figured Bass) means you should build a chord with its third as the lowest note.
6/4 (Second Inversion Figured Bass)
A figured bass symbol indicating a second inversion triad, where the fifth of the chord is in the bass.
Example:
A bass note marked with 6/4 (Second Inversion Figured Bass) tells you to place the chord's fifth in the lowest voice.
6/5 (First Inversion Seventh Chord Figured Bass)
A figured bass symbol indicating a seventh chord in first inversion, where the third of the chord is in the bass.
Example:
If a bass note has 6/5 (First Inversion Seventh Chord Figured Bass), the chord's third is the lowest note, and it's a seventh chord.
7 (Root Position Seventh Chord Figured Bass)
A figured bass symbol indicating a seventh chord in root position, where the root is in the bass.
Example:
A bass note with a 7 (Root Position Seventh Chord Figured Bass) means the chord's root is the lowest note, and it includes a seventh.
Augmented (A) Triad
A triad built with a root, a major third above the root, and an augmented fifth above the root.
Example:
An F-A-C# chord is an F Augmented (A) Triad, producing an expansive and somewhat unsettling sound.
Diatonic Chords
Chords that are built using only the notes from a specific major or minor scale.
Example:
In the key of G major, G major (I), A minor (ii), and C major (IV) are all Diatonic Chords.
Diminished (d) Triad
A triad built with a root, a minor third above the root, and a diminished fifth above the root.
Example:
The notes B-D-F create a B Diminished (d) Triad, which often sounds tense and unresolved.
Diminished Seventh (d) Chord
A seventh chord with a diminished triad and a diminished seventh above the root, known for its highly dissonant and symmetrical sound.
Example:
A C#-E-G-B♭♭ chord is a C# Diminished Seventh (d) Chord, often used for dramatic effect or modulation.
Dominant (V)
The chord built on the fifth scale degree of a key, creating strong tension that typically resolves to the tonic.
Example:
In A minor, the E major chord is the Dominant (V), providing a strong pull back to A minor.
Dominant Seventh (Mm) Chord
A seventh chord with a major triad and a minor seventh above the root, creating strong tension that resolves to the tonic.
Example:
The C-E-G-B♭ chord is a C Dominant Seventh (Mm) Chord, a cornerstone of functional harmony.
Figured Bass
A Baroque-era shorthand notation using numbers below a bass line to indicate the intervals above the bass note, thereby specifying the chord and its inversion.
Example:
A composer might write a bass note with '6' below it in Figured Bass to indicate a first inversion triad.
First Inversion
A chord inversion where the third of the chord is the lowest sounding note (in the bass).
Example:
A G major chord played with B (its third) in the bass is in First Inversion.
Half-Diminished Seventh (ø) Chord
A seventh chord with a diminished triad and a minor seventh above the root.
Example:
The chord D-F-A♭-C is a D Half-Diminished Seventh (ø) Chord, commonly found on the supertonic in minor keys.
Leading Tone (vii°)
The diminished chord built on the seventh scale degree of a key, strongly tending to resolve to the tonic.
Example:
In D major, the C# diminished chord is the Leading Tone (vii°), creating a strong sense of anticipation for D major.
Major (M) Triad
A triad built with a root, a major third above the root, and a perfect fifth above the root.
Example:
The chord C-E-G forms a C Major (M) Triad, often sounding bright and stable.
Major Seventh (MM) Chord
A seventh chord with a major triad and a major seventh above the root.
Example:
The chord F-A-C-E is an F Major Seventh (MM) Chord, often heard in jazz and contemporary music.
Mediant (iii/III)
The chord built on the third scale degree of a key, sharing two notes with the tonic chord.
Example:
In E minor, the G major chord is the Mediant (iii/III), offering a contrasting but related sound.
Minor (m) Triad
A triad built with a root, a minor third above the root, and a perfect fifth above the root.
Example:
A D-F-A chord is a D Minor (m) Triad, typically conveying a more somber or reflective mood.
Minor Seventh (mm) Chord
A seventh chord with a minor triad and a minor seventh above the root.
Example:
A G-B♭-D-F chord is a G Minor Seventh (mm) Chord, frequently used in blues and pop.
Roman Numerals
Symbols used in music theory to represent chords and their harmonic function within a key.
Example:
Analyzing a chord progression like I-IV-V-I uses Roman Numerals to show the relationships between chords.
Root Position
A chord inversion where the root of the chord is the lowest sounding note (in the bass).
Example:
When playing a C major chord with C in the bass, it is in Root Position.
Second Inversion
A chord inversion where the fifth of the chord is the lowest sounding note (in the bass).
Example:
If you play a D minor chord with A (its fifth) in the bass, it is in Second Inversion.
Seventh Chords
Chords consisting of four notes, formed by stacking a third, fifth, and seventh above the root.
Example:
A C-E-G-B chord is a C major Seventh Chord, adding richness beyond a simple triad.
Subdominant (IV/iv)
The chord built on the fourth scale degree of a key, often preceding the dominant chord.
Example:
The F major chord in C major is the Subdominant (IV/iv), commonly used to move away from the tonic.
Submediant (vi/VI)
The chord built on the sixth scale degree of a key, often used for deceptive cadences or to extend tonic harmony.
Example:
In B-flat major, the G minor chord is the Submediant (vi/VI), frequently appearing after a V chord in a deceptive cadence.
Supertonic (ii/ii°)
The chord built on the second scale degree of a key, often leading to the dominant or subdominant.
Example:
In G major, the A minor chord is the Supertonic (ii/ii°), frequently preceding a V chord.
Tonic (I/i)
The chord built on the first scale degree of a key, serving as the central point of harmonic rest and resolution.
Example:
In C major, the C major chord is the Tonic (I/i), providing a sense of home.
Triad
A fundamental chord type consisting of three notes stacked in intervals of thirds.
Example:
A C-E-G chord is a C triad.