Glossary
Chordal Seventh Resolution
The rule that the seventh of a seventh chord must typically resolve down by step, creating a smooth transition to the next chord.
Example:
When a dominant seventh chord resolves to the tonic, the Chordal Seventh Resolution ensures a satisfying stepwise descent in one of the voices.
Circle of Fifths
A visual representation of the relationships among the 12 tones of the chromatic scale, showing key signatures and chord relationships by perfect fifths.
Example:
Understanding the Circle of Fifths helps a composer quickly transpose a piece into a different key or identify related chords.
Common Progressions
Frequently used chord sequences that establish harmonic movement, such as I-ii-V-I and I-IV-V-I.
Example:
Many folk songs are built upon simple Common Progressions like I-IV-V-I, making them easy to learn and play.
First Inversion (ii6 or iio6)
A chord inversion where the third of the supertonic triad is in the bass, commonly used to emphasize the subdominant function by placing the fourth scale degree in the bass.
Example:
When harmonizing a melody, using a First Inversion (ii6 or iio6) can create a strong pull towards the dominant, especially with the subdominant in the bass.
First Inversion (iv6)
A chord inversion where the third of the chord is in the bass, often used for the subdominant triad in minor keys (iv6) to create a smoother bass line.
Example:
To make the bass line flow more smoothly in a minor key, a composer might opt for a First Inversion (iv6) chord instead of root position.
IV (subdominant)
A major chord built on the fourth scale degree in a major key, or a minor chord (iv) in a minor key. It functions as a predominant chord.
Example:
A hymn might use the IV (subdominant) chord to provide a stable, yet forward-moving, harmony before resolving to the dominant.
Parallel Fifths and Octaves
Voice leading errors that occur when two voices move in the same direction, maintaining the same interval (a perfect fifth or octave) between them, which is generally avoided in common practice harmony.
Example:
A common mistake for beginning harmonizers is creating Parallel Fifths and Octaves, which can make the music sound thin or unrefined.
Predominant Chords
Chords that create anticipation and lead smoothly to the dominant chord in a musical phrase. They act as a 'setup' before the dominant.
Example:
In a classical sonata, the composer might use a series of Predominant Chords to build tension before the powerful arrival of the dominant.
Predominant Function
The role of a chord in creating a sense of anticipation and pushing the music towards the dominant (V) chord, expanding the basic T-D-T progression to T-PD-D-T.
Example:
The feeling of 'getting ready' for the big climax in a movie score is similar to the Predominant Function of chords leading to the dominant.
Primary Predominants
The most common and fundamental predominant chords, specifically the supertonic (ii) and subdominant (IV) triads.
Example:
When analyzing a simple pop song, you'll often find the harmony relying heavily on Primary Predominants like ii and IV to move towards the V chord.
Seventh Chords
Chords consisting of a triad plus an added seventh above the root, adding richness and complexity to the harmony.
Example:
Jazz musicians frequently employ Seventh Chords to create lush, sophisticated harmonies that are characteristic of the genre.
Subdominant Seventh Chords (IV7 or iv7)
Seventh chords built on the fourth scale degree (IV7 in major, iv7 in minor), less common than supertonic seventh chords but still appear.
Example:
While less frequent, a Subdominant Seventh Chord (IV7 or iv7) can add a unique color to a predominant progression, especially in minor keys.
Subdominant Triad
The specific triad built on the fourth scale degree (IV in major, iv in minor), serving as a primary predominant chord.
Example:
In a blues progression, the move from the tonic to the Subdominant Triad (IV) is a foundational harmonic shift.
Supertonic Seventh Chords (ii7 or iio7)
Seventh chords built on the second scale degree (ii7 in major, iio7 in minor), commonly used as strong predominant harmonies.
Example:
A composer might use a Supertonic Seventh Chord (ii7 or iio7) to intensify the harmonic tension just before the dominant chord.
Supertonic Triad
The specific triad built on the second scale degree (ii in major, iio in minor), serving as a primary predominant chord.
Example:
The Supertonic Triad often adds a slightly more sophisticated flavor than the subdominant when moving towards the dominant.
Tendency Tones
Notes within a chord or scale that have a strong melodic pull towards a specific resolution, such as the leading tone resolving up to the tonic or the chordal seventh resolving down.
Example:
The leading tone in a dominant chord is a Tendency Tone that strongly desires to resolve up to the tonic, creating a sense of arrival.
Voice Leading
The art and science of smoothly connecting individual melodic lines (voices) within a chord progression, often involving contrary motion and common tones.
Example:
Good Voice Leading ensures that each singer in a choir has a melodically satisfying part, even within complex harmonies.
ii (supertonic)
A minor chord built on the second scale degree in a major key, or a diminished chord (iio) in a minor key. It functions as a predominant chord.
Example:
In G Major, the ii (supertonic) chord is A minor (A-C-E), often leading to D major (V).
ii 4/2 chord
The third inversion of a supertonic seventh chord, where the seventh of the chord is in the bass, which can function as a pedal tone or a predominant chord depending on context.
Example:
A ii 4/2 chord might appear over a sustained tonic bass note, creating a temporary dissonance that resolves back to the tonic.
ii 6/5
The first inversion of a supertonic seventh chord, where the third of the chord is in the bass, often favored for its strong predominant feel.
Example:
To give a predominant section extra drive, a composer might choose the ii 6/5 inversion, placing the subdominant in the bass.