Glossary
Approach (Chordal Seventh)
The melodic movement leading into the chordal seventh of a chord.
Example:
When moving to a G7 chord, approaching the chordal seventh (F) from G (a common tone) or E (by step) is generally preferred.
Cadential 6/4 Resolution
A specific voice leading pattern for a tonic 6/4 chord (I6/4) that functions as a dominant preparation, where the 6th and 4th resolve down by step to the 5th and 3rd of the dominant chord.
Example:
In C Major, a C6/4 chord (G-C-E) resolving to G major (G-B-D) requires the C to resolve to B and the E to resolve to D, demonstrating cadential 6/4 resolution.
Chord Spelling
The correct identification and notation of all pitches that constitute a specific chord, including any necessary accidentals.
Example:
Correct chord spelling for an F# diminished triad is F#, A, C.
Chordal Seventh
The note a seventh above the root of a chord, which introduces dissonance and creates a need for resolution.
Example:
In a G7 chord, the F is the chordal seventh, creating tension that typically resolves.
Descending Leap (Chordal Seventh Approach)
A less ideal but sometimes permissible way to approach the chordal seventh, involving a leap downward.
Example:
Approaching the F in a G7 chord by a descending leap from A (a third) is generally less preferred than a step or common tone.
Doubling
The practice of having more than one voice sing or play the same pitch or octave of a chord tone.
Example:
In a root position triad, the root is most commonly chosen for doubling to provide a stable sound.
Hidden/Direct Octaves/Fifths
A minor voice leading error occurring between outer voices when they move in the same direction to an octave or fifth, and the upper voice leaps.
Example:
If the soprano leaps from C to G while the bass moves by step from F to G, creating a perfect fifth, it's a hidden fifth.
I-V4/3-I6
A specific chord progression where the V4/3 chord's chordal seventh resolves upward by step, contrary to the usual rule.
Example:
In C Major, the G7 in second inversion (V4/3) might have its F resolve up to G in the subsequent I6 chord, creating a 3-4-5 melodic line.
Incorrect Leading Tone Resolution
A voice leading error where the leading tone (7th scale degree) does not resolve upward by step to the tonic, especially in outer voices.
Example:
In G Major, if the F# in a V chord moves down to D instead of up to G, it's an incorrect leading tone resolution.
Incorrect Number of Voices
A voice leading error where a chord does not have the required minimum number of voices (e.g., less than three for a triad, less than four for a seventh chord).
Example:
Writing a seventh chord with only three voices instead of four results in an incorrect number of voices.
Omitting Voices
The practice of leaving out a specific chord tone in a four-part harmonization to facilitate better voice leading.
Example:
In a root position V7 chord, you might consider omitting the fifth to avoid parallel octaves or fifths.
Overlapping Voices
A minor voice leading error where a lower voice moves above a higher voice, or vice versa, from one chord to the next.
Example:
If the alto sings a C, and in the next chord, the soprano sings a B (below the alto's previous C), this creates overlapping voices.
Parallel Fifths
A voice leading error where two voices move in the same direction, maintaining a perfect fifth interval between them.
Example:
Moving from C-G to D-A in two voices simultaneously creates parallel fifths, which is generally avoided in common practice.
Parallel Octaves
A voice leading error where two voices move in the same direction, maintaining an octave interval between them.
Example:
If the soprano moves from C to D while the bass also moves from C to D, creating parallel octaves, it's considered a voice leading error.
Parallel Unisons
A voice leading error where two voices move in the same direction, maintaining a unison interval (the same pitch) between them.
Example:
If the alto and tenor both sing C and then both move to D, they create parallel unisons, which is a voice leading error.
Resolve (Chordal Seventh)
The melodic movement of the chordal seventh, typically by a descending step, to a more consonant pitch in the subsequent chord.
Example:
In a C Major progression, the F in a G7 chord should resolve down to E in the following C major chord.
Rising Unequal Fifths
A minor voice leading error where two voices move in the same direction, creating a perfect fifth followed by a diminished fifth, or vice versa, both rising.
Example:
Moving from C-G to D-Ab (P5 to d5, rising) would be an instance of rising unequal fifths.
Roman Numerals
Symbols used to represent chords based on their root's scale degree and quality within a given key.
Example:
In C Major, a C major chord is represented by I, and a G7 chord by V7.
Seventh Chords
Chords consisting of four notes stacked in thirds, including a root, third, fifth, and a chordal seventh.
Example:
A D minor seventh chord includes D, F, A, and C, adding a richer, often more dissonant quality than a triad.
Spacing
The vertical distance between the notes of a chord, typically referring to the intervals between adjacent voices.
Example:
Good spacing avoids voices being too close together (e.g., all in one octave) or too far apart (e.g., tenor and bass more than an octave apart).
Suspensions
A non-chord tone that is held over from a previous chord, creating dissonance before resolving by step, often downward, into a chord tone.
Example:
In a V7 to vii° progression, the chordal seventh might be held over as a suspension into the next chord, delaying its resolution.
Tendency Tone
A note that has a strong pull to resolve to a specific pitch, often due to its dissonant nature or scale degree function.
Example:
In C Major, the leading tone (B) is a tendency tone that strongly wants to resolve up to C.
Too Many Leaps
A minor voice leading error where a single voice contains an excessive number of melodic leaps (more than 6 in total) within a given passage.
Example:
A soprano line that constantly jumps by thirds, fourths, and fifths, rather than moving smoothly by step, might be penalized for too many leaps.
Triads
Chords consisting of three notes stacked in thirds, typically forming consonant intervals.
Example:
A C Major triad consists of C, E, and G, creating a stable sound.
Uncharacteristic Leaps
Melodic intervals that are considered awkward or difficult to sing, such as augmented seconds, tritones, or leaps larger than a fifth (excluding octaves).
Example:
A leap from C to F# in a melodic line would be an uncharacteristic leap (tritone) and is generally avoided.
Voice Leading
The melodic movement of individual parts or voices in a polyphonic texture, aiming for smooth and logical transitions between chords.
Example:
Good voice leading ensures that each singer's part in a choir moves gracefully from one note to the next without awkward jumps.