Glossary
6/4 Chords
Second inversion triads (with the fifth in the bass), often used as passing chords, pedal chords, or cadential chords, and typically require doubling of the bass note.
Example:
A cadential 6/4 chord (I6/4) often precedes a V7-I progression, creating a temporary dominant function before the final resolution.
Acceptable Progressions
Standard and conventional chord movements that follow established harmonic rules within a given musical style.
Example:
In tonal music, moving from a tonic to a dominant chord is an acceptable progression, while moving from a dominant directly to a subdominant might be less common.
Authentic Cadence
A cadence moving from a dominant (V) or leading-tone (vii°) chord to the tonic (I) chord, providing a strong sense of resolution.
Example:
The classic V-I progression at the end of many pop songs is a clear example of an authentic cadence.
Bass Line
The lowest melodic line in a multi-part texture, which provides the harmonic foundation and often outlines the chord progression.
Example:
A strong and melodic bass line is crucial for giving a piece of music a solid harmonic and rhythmic backbone.
Bass Line Leaps
Melodic movements in the bass line that involve intervals larger than a step, often used to outline chords or provide rhythmic drive.
Example:
Unlike upper voices, the bass line can use more frequent leaps, such as perfect fourths or fifths, to define the harmony.
Bass Line Rhythms
The rhythmic patterns used in the bass line, which are often simpler and more consistent than upper voices, frequently using quarter notes.
Example:
In many classical pieces, the bass line rhythms are predominantly quarter notes, providing a steady foundation for the faster moving upper parts.
Bass Line Successive Leaps
Multiple consecutive leaps in the bass line that are acceptable if they clearly outline the notes of a single triad.
Example:
A bass line moving C-G-E (all leaps) is acceptable as bass line successive leaps because it outlines a C major triad.
Cadence
A harmonic and melodic punctuation mark that signals the end of a phrase, section, or piece of music.
Example:
The final chord progression of a song typically ends with a strong cadence, providing a sense of closure.
Chord Tone
Any note that is part of a specific chord, such as the root, third, fifth, or seventh.
Example:
When analyzing a melody, identifying which notes are chord tones helps understand its harmonic implications.
Chordal Seventh Resolution
The rule that the seventh of a seventh chord must resolve downwards by step, unless specific exceptions apply.
Example:
The dissonant nature of the chordal seventh resolution means it almost always moves down by step, like a sigh of relief.
Common Tones
Notes that are shared between two consecutive chords, which should ideally be kept in the same voice for smooth voice leading.
Example:
When moving from a C major to an E minor chord, the G is a common tone that can be held by the same voice for a seamless transition.
Deceptive Cadence
A cadence where a dominant (V) chord resolves unexpectedly to the submediant (vi) chord instead of the tonic (I), creating a surprising or prolonging effect.
Example:
Just when you expect a song to end, a deceptive cadence might lead to a new section, tricking your ear with a V-vi progression.
Direct Fifths
A voice leading error where two outer voices (soprano and bass) move in the same direction to a perfect fifth, with the soprano leaping.
Example:
Even if not strictly parallel, a direct fifth can still sound awkward, especially if the soprano makes a large jump into the interval.
Direct Octaves
A voice leading error where two outer voices (soprano and bass) move in the same direction to a perfect octave, with the soprano leaping.
Example:
To maintain independence, avoid direct octaves where the soprano leaps into an octave with the bass, even if the bass moves by step.
Dominant Substitute
A chord that can replace a dominant (V or V7) chord while maintaining a similar harmonic function and often leading to the tonic.
Example:
The ⅶ°7 chord often acts as a dominant substitute, providing a similar tension and resolution to the tonic without using the V chord directly.
Doubling
The practice of having more than one voice sing or play the same pitch or pitches an octave apart within a chord.
Example:
In a major triad, it's common practice to double the root of the chord to provide a strong, stable sound.
Half Cadence
A cadence that ends on a dominant (V) chord, creating a sense of pause or anticipation rather than full closure.
Example:
Many musical phrases build tension and then pause on a half cadence, leaving the listener expecting more.
Imperfect Authentic Cadence
An authentic cadence that is less conclusive than a perfect authentic cadence, often due to an inverted V or I chord, or the tonic not being in the soprano of the final I chord.
Example:
A V6-I progression, or a V-I where the soprano ends on the third of the tonic chord, creates an imperfect authentic cadence.
Implied Chords
Harmonies that are suggested by the melodic lines, even if not all chord tones are explicitly present, requiring the melody to make harmonic sense.
Example:
Even if only a bass line and soprano are written, the listener can often infer the implied chords that connect them harmonically.
Inversions
Variations of a chord where a note other than the root is in the bass, altering the chord's stability and melodic flow.
Example:
Using chord inversions allows a composer to create a more melodic bass line and smoother voice leading, rather than always having the root in the bass.
Leading Tone Resolution
The rule that the leading tone (the seventh scale degree) must resolve upwards by step to the tonic in outer voices.
Example:
In a V-I progression, the leading tone resolution ensures the strong pull of the seventh scale degree upwards to the tonic is fulfilled.
Leading Tone Seventh Chords (ⅶ°7 and ⅶø7)
Diminished or half-diminished seventh chords built on the leading tone of a key, functioning as dominant substitutes or for tonic prolongation.
Example:
In C major, a B-D-F-A♭ (ⅶ°7) chord can create a dramatic pull to C major, acting as a powerful leading tone seventh chord.
Melodic Intervals
The distance between two consecutive notes in a single melodic line, with certain intervals preferred for smooth and singable melodies.
Example:
Good melodic intervals typically involve steps and small leaps, avoiding awkward augmented or diminished intervals.
Octave Leaps
A melodic movement of an octave, which in the bass line should typically be followed by a change in direction.
Example:
After a dramatic octave leap downwards, the bass line might then move upwards by step to balance the melodic contour.
Omitting Voices
The practice of leaving out a specific chord tone, usually the fifth, in certain chord voicings to facilitate good voice leading or avoid parallel motion.
Example:
In a root position V7 chord, omitting voices by leaving out the fifth can make it easier to resolve the chord smoothly to the tonic.
Parallel Fifths
A voice leading error where two voices move in the same direction, maintaining the interval of a perfect fifth between them.
Example:
Composers strictly avoid parallel fifths because they can make the harmony sound hollow or create an undesirable sense of two independent lines.
Parallel Octaves
A voice leading error where two voices move in the same direction, maintaining the interval of a perfect octave between them.
Example:
Just like parallel fifths, parallel octaves are generally forbidden in four-part writing as they reduce the perceived number of independent voices.
Perfect Authentic Cadence
A strong authentic cadence where both the V and I chords are in root position, and the tonic is in the soprano of the final I chord.
Example:
A hymn ending with a V-I progression where both chords are in root position and the melody ends on the tonic is a perfect authentic cadence.
Plagal Cadence
A cadence moving from the subdominant (IV) chord to the tonic (I) chord, often described as a 'Amen' cadence due to its common use in hymns.
Example:
The gentle IV-I progression at the end of many church hymns is a classic plagal cadence, offering a soft, conclusive feel.
Repeated Bass Notes
The practice of repeating the same note in the bass line, often on strong beats or at the start of a phrase, to provide rhythmic stability.
Example:
A composer might use repeated bass notes to emphasize a pedal point or to create a steady rhythmic pulse.
Repeated Harmonies
The practice of repeating the same chord, often on strong beats or at the beginning of a phrase, to emphasize or prolong a harmonic area.
Example:
A composer might use repeated harmonies at the start of a phrase to establish the tonic firmly before moving to other chords.
Rising Unequal Fifths
A voice leading error where a diminished fifth resolves upwards to a perfect fifth between the same two voices.
Example:
Moving from a B-F diminished fifth up to a C-G perfect fifth is an example of rising unequal fifths, which is typically avoided.
Root Position
A chord inversion where the root of the chord is the lowest sounding note in the bass.
Example:
A C major triad with C in the bass is in root position, providing a stable and foundational sound.
SATB Order
The standard arrangement of four voices in choral writing: Soprano (highest), Alto, Tenor, and Bass (lowest), maintained to avoid voice crossing.
Example:
When writing for a choir, adhering to SATB order ensures each vocal part stays within its appropriate range and avoids collisions.
Seventh Chords
Chords consisting of a root, third, fifth, and a seventh above the root, adding harmonic richness and often creating a stronger pull to resolution.
Example:
The dominant seventh chord (V7) in a jazz tune provides a bluesy tension that strongly resolves to the tonic.
Smooth Voice Leading
A desirable outcome of voice leading where individual voices move efficiently with minimal leaps, often by step or common tone, creating a cohesive sound.
Example:
Achieving smooth voice leading in a string quartet arrangement makes the transitions between chords feel effortless and elegant.
Stepwise Motion
Melodic movement from one note to an adjacent note (a second above or below), promoting smoothness in individual voices.
Example:
A beautiful melody often relies on stepwise motion to create a lyrical and easy-to-sing line, like a scale ascending or descending.
Tendency Tones
Notes within a chord or scale that have a strong melodic pull to resolve to a specific pitch, such as the leading tone or the chordal seventh.
Example:
The leading tone and the chordal seventh are classic tendency tones that create harmonic tension and demand resolution.
Three Consecutive Thirds/Sixths
A voice leading guideline advising against more than two consecutive parallel thirds or sixths between the same two voices, to maintain melodic interest.
Example:
While parallel thirds can sound pleasant, using three consecutive thirds/sixths can make the harmony sound too predictable or static.
Tonic Prolongation
The harmonic technique of extending the presence of the tonic chord through intervening chords that do not fundamentally shift the harmonic area.
Example:
A I - ⅶ6/5 - I progression demonstrates tonic prolongation, where the leading tone chord briefly interrupts but ultimately reinforces the tonic.
Top Voice
The highest sounding melodic line in a multi-part texture, typically the soprano voice in SATB writing.
Example:
The top voice of a chorale often carries the main melody, making its contour and resolution particularly important.
Upper Voice Spacing
The distance between adjacent upper voices (soprano, alto, tenor), which should generally be kept within an octave for good balance and blend.
Example:
Maintaining proper upper voice spacing ensures that the choir's sound is cohesive and avoids large, awkward gaps between parts.
Voice Crossing
A voice leading error where a lower voice moves above a higher voice, or vice versa, disrupting the clear SATB order.
Example:
If the alto sings a note higher than the soprano, it's an instance of voice crossing, which can obscure the individual melodic lines.
Voice Exchange
A voice leading technique where two voices swap notes, often involving a common tone or stepwise motion, creating a smooth melodic contour.
Example:
In a I - ⅶ6/5 - I progression, the bass and soprano might perform a voice exchange, with one moving up while the other moves down to the same notes.
Voice Leading
The horizontal movement of individual melodic lines (voices) within a chord progression, focusing on smooth and logical connections between notes.
Example:
When composing a hymn, careful voice leading ensures each singer's part flows naturally and harmonically with the others.