Glossary
Baroque period
A musical era spanning approximately 1600-1750, characterized by the development of tonality, counterpoint, and the widespread use of figured bass.
Example:
Many of the harmonic rules and notational practices, like figured bass, that we study in AP Music Theory originated in the Baroque period.
Closed Position
A chord voicing where the notes are stacked as closely as possible within an octave, typically with no more than an octave between the soprano and tenor voices.
Example:
When all the notes of a C major 7th chord are played within a single octave (C-E-G-B), it's in closed position.
Ear Training
The practice of developing the ability to recognize and identify musical elements, such as intervals, chords, and progressions, by listening.
Example:
Consistent ear training is essential for the AP Music Theory exam, especially for identifying seventh chord inversions and qualities by sound.
Figured Bass
A shorthand notation system from the Baroque period that uses numbers below a bass line to indicate the intervals above the bass note, thereby specifying the chord and its inversion.
Example:
Composers used figured bass to quickly convey harmonic information, like a '6/5' indicating a first inversion seventh chord.
First Inversion
The inversion of a seventh chord where the third of the chord is the lowest note, giving it a slightly different feel than root position.
Example:
A D minor 7th chord (D-F-A-C) with F in the bass is in first inversion, often notated as 6/5 in figured bass.
Open Position
A chord voicing where the notes are spread out over more than an octave, often used in SATB (Soprano, Alto, Tenor, Bass) writing.
Example:
Arranging a G7 chord so that the notes are widely spaced across the staff, with larger intervals between voices, creates an open position voicing.
Roman Numeral Analysis
A system used to analyze chord progressions by assigning Roman numerals to chords based on their root's scale degree and quality within a given key.
Example:
Performing a Roman numeral analysis of a piece helps to understand its harmonic structure, like identifying a V7 chord resolving to I.
Root Position
The inversion of a chord where the root is the lowest note, serving as the foundational 'home base' for the chord.
Example:
When playing a C major 7th chord (C-E-G-B) with C as the bass note, you are playing it in root position.
Second Inversion
The inversion of a seventh chord where the fifth of the chord is the lowest note, often creating a more suspended or unstable feeling.
Example:
If you encounter a G dominant 7th chord (G-B-D-F) with D in the bass, it's in second inversion, commonly indicated by 4/3.
Seventh Chord Inversions
Variations of a seventh chord where a note other than the root is the lowest pitch, altering the chord's sonic color and voice leading possibilities.
Example:
Understanding how a G7 chord sounds different when its 3rd (B) is in the bass, creating a seventh chord inversion, is key for smooth progressions.
Third Inversion
The inversion of a seventh chord where the seventh of the chord is the lowest note, making it the most unstable inversion and often leading to a resolution.
Example:
A C major 7th chord (C-E-G-B) with B in the bass is in third inversion, which is typically notated as 4/2 and strongly implies a resolution.
Voice Leading
The melodic and harmonic movement of individual musical lines (voices) within a chord progression, aiming for smoothness and logical progression.
Example:
Using seventh chord inversions can significantly improve voice leading by allowing individual voices to move by step rather than by large leaps.