Glossary
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 chord (C-E-G) to an F major chord (F-A-C), the C is a Common Tone and should ideally remain in the same voice.
Contrary Motion
A type of voice leading where two or more voices move in opposite directions, often used to avoid parallel motion errors.
Example:
If the bass line moves up, the upper voices moving down demonstrates Contrary Motion, creating a balanced sound.
Dominant (D)
A chord that creates tension and strongly pulls towards the tonic, often featuring the leading tone.
Example:
The G7 chord in C major is the Dominant (D), creating a strong urge to resolve to C major.
Harmonic functions
The roles chords play in a musical piece, categorizing them by their tendency and stability within a tonal context.
Example:
Understanding the harmonic functions of chords helps a composer build a compelling narrative in their music.
Parallel fifths
A voice-leading error where two voices move in perfect fifths in the same direction, creating an undesirable sound.
Example:
If the soprano moves from C to D while the alto moves from G to A, this creates Parallel fifths, which are generally avoided in common practice harmony.
Parallel octaves
A voice-leading error where two voices move in perfect octaves in the same direction, resulting in a loss of independent voice motion.
Example:
When the bass moves from C to D and the tenor also moves from C to D an octave higher, this results in Parallel octaves, making the two voices sound like one.
Predominant (PD)
Chords that act as a bridge between the tonic and dominant, building tension and adding harmonic interest before the dominant.
Example:
In a progression, a C major chord moving to an F major chord (IV) before a G7 chord demonstrates the Predominant (PD) function of the F major.
Preparation of the 7th
The rule that the seventh of a seventh chord (especially V7) must be approached by common tone or by step, usually descending.
Example:
When resolving a G7 chord, the F (the 7th) must be handled carefully, often by Preparation of the 7th from a common tone or stepwise descent.
Subdominant chord (IV or iv)
A predominant chord built on the fourth scale degree, commonly used as a smooth transition from the tonic.
Example:
In G major, the C major chord is the Subdominant chord (IV), often appearing after the G major tonic.
Supertonic chord (ii or ii°)
A predominant chord built on the second scale degree, offering a slightly different flavor than the subdominant and often leading to the dominant.
Example:
In D major, the E minor chord is the Supertonic chord (ii), frequently used to precede the A major dominant.
T-D-T
A basic three-chord phrase structure consisting of Tonic, followed by Dominant, and resolving back to Tonic.
Example:
A simple children's song might use a T-D-T progression to establish a clear sense of home and return.
T-PD-D-T
An expanded and more sophisticated phrase structure that includes a predominant chord between the tonic and dominant, leading to a more satisfying resolution.
Example:
Many classical melodies employ the T-PD-D-T structure to add depth and flow to their harmonic progressions.
Tension and harmonic interest
The quality in music that creates a feeling of anticipation or instability, often achieved through dissonances or chords that pull away from the tonic.
Example:
The use of a diminished chord before a major chord can create significant tension and harmonic interest, making the resolution more impactful.
Tonic (T)
The 'home' chord in a musical piece, providing a sense of stability and resolution.
Example:
In a piece in C major, the C major chord acts as the Tonic (T), offering a feeling of arrival.
Voice leading
The horizontal movement of individual melodic lines (voices) within a chord progression, aiming for smooth and independent motion.
Example:
Good voice leading ensures that each part in a four-part harmony moves logically and avoids awkward leaps.
ii6 and ii°6
The supertonic chord (major or diminished) placed in its first inversion, often used to create a smoother bass line and emphasize its predominant function.
Example:
A composer might use a ii6 chord in C major (D-F-A in first inversion, F in the bass) to lead gracefully to a G7 chord.
ii7 chord
A four-note chord built on the second scale degree, functioning as a predominant chord and adding more harmonic richness before the dominant.
Example:
In a jazz standard in C major, a D minor 7th chord (D-F-A-C) would be a common ii7 chord leading to G7.