Glossary
Chord Progression
A series of musical chords played in sequence, forming the harmonic foundation of a piece.
Example:
The common Chord Progression I-IV-V-I forms the basis for countless popular songs.
Contextual Analysis
The process of determining a chord's function and meaning based on its surrounding chords and its role within the larger musical phrase or form.
Example:
Deciding if a iii chord is a tonic prolongation or a weak predominant requires careful Contextual Analysis of the chords around it.
Diatonic Harmony
The system of organizing pitches and chords derived from a specific major or minor scale, forming the fundamental harmonic language of a piece.
Example:
Understanding Diatonic Harmony helps predict how chords like I, IV, and V will function within a key.
Dominant (V/V, vii°)
Chords that heighten tension and have a strong pull towards the tonic, often containing the leading tone.
Example:
The G major chord (V) in C major is a strong Dominant, creating a powerful urge to resolve to C major.
First Inversion (iii⁶)
A chord where the third of the triad is in the bass, often used for smoother voice leading or to alter the chord's function.
Example:
An E minor chord with G in the bass (G-B-E) in C major is a First Inversion mediant (iii⁶), which can sometimes sound like a dominant.
Leading Tone
The seventh scale degree in a major scale or harmonic/melodic minor scale, which has a strong tendency to resolve upwards to the tonic.
Example:
In C major, B is the Leading Tone, creating a strong pull to C.
Mediant Chord (iii/III)
A chord built on the third scale degree of a scale, typically a minor triad in major keys (iii) and a major triad in minor keys (III).
Example:
In C major, the E minor chord (E-G-B) is the Mediant Chord, often feeling less stable than the tonic but not strongly pulling away.
Modulation
The process of establishing a new key as the primary tonal center for a significant portion of a piece.
Example:
When a piece in C major transitions and firmly establishes G major as the new home key, that's a Modulation.
Non-chord tone
A pitch that is not part of the current chord but is used melodically to create tension or embellish the harmony.
Example:
In a C major chord, an F played briefly before resolving to E would be a Non-chord tone, adding melodic interest.
Non-functional IV
A subdominant chord (IV) that does not act as a strong predominant leading to the dominant, but rather serves to expand the tonic area.
Example:
In a I-iii-Non-functional IV-I progression, the IV chord doesn't strongly pull to V, but rather helps to extend the tonic's presence.
Predominant (ii/ii°, IV/iv)
Chords that create tension and typically lead to the dominant chord, preparing for resolution to the tonic.
Example:
In G major, a C major chord (IV) or an A minor chord (ii) can act as a Predominant, building anticipation before the V chord.
Relative Major
The major key that shares the same key signature as a given minor key, located a minor third above the minor tonic.
Example:
The Relative Major of A minor is C major, as they both have no sharps or flats in their key signature.
Submediant (vi/VI)
A chord built on the sixth scale degree, often functioning as a weak predominant or a prolongation of the tonic.
Example:
In F major, the D minor chord (vi) can be used after the tonic to gently extend the feeling of home, acting as a Submediant.
T-PD-D-T phrase structure
A common harmonic progression pattern that moves from Tonic (T) to Predominant (PD), then to Dominant (D), and finally back to Tonic (T).
Example:
A typical hymn tune often follows the T-PD-D-T phrase structure, providing a clear harmonic journey.
Tonic (I/i)
The home base chord of a key, built on the first scale degree, providing a sense of stability and resolution.
Example:
In C major, the C major chord (C-E-G) is the Tonic, feeling like the ultimate resting point.
Tonic Prolongation
The use of chords, such as the mediant, to extend or expand the feeling of the tonic chord without moving to a new harmonic area.
Example:
A progression like I - Tonic Prolongation (iii) - I keeps the listener grounded in the home key, even with a brief detour.
Tonicization
A temporary emphasis on a chord other than the tonic, making it sound like a temporary tonic without fully establishing a new key.
Example:
Using a G7 chord followed by a C major chord in the key of F major would be a Tonicization of C major, briefly highlighting it.
Voice Leading
The horizontal movement of individual melodic lines (voices) within a chord progression, aiming for smooth and logical transitions.
Example:
Ensuring that each part moves by step or small leap to the next chord demonstrates good Voice Leading.
Weak Predominant
A chord, like the mediant, that can gently lead to a stronger predominant chord but does not create a strong sense of tension or pull towards the dominant on its own.
Example:
Using a iii chord before a IV chord (I-iii-IV) demonstrates the Weak Predominant function of the mediant, setting up the stronger IV.