Glossary
Accented passing tone
A passing tone that occurs on a stronger beat, creating a momentary tension before resolving.
Example:
A composer might use an accented passing tone on beat one of a measure to add a surprising, yet brief, dissonance.
Anticipation Tones
A non-chord tone that is a chord tone of the *next* chord, arriving early before the beat.
Example:
Before a G major chord, if the melody plays a G on an unaccented beat, that G is an anticipation tone.
Appoggiaturas
A grace note that is played before a chord tone, creating a dissonance that resolves to the chord tone, often accented.
Example:
A dramatic F played on a strong beat before resolving to E over a C major chord is an appoggiatura.
Ascending 2nds (harmonic sequence)
A harmonic sequence where the root of each chord moves up by a second, often used in tonic-predominant, predominant-dominant, and dominant-tonic movements.
Example:
A progression like C-Dm-Em-F is an ascending 2nds sequence.
Ascending fifths sequences
A harmonic sequence where chords move up by a fifth (or down by a fourth), often used for building tension.
Example:
A progression like C-G-D-A is an ascending fifths sequence.
Ascending thirds sequences
A harmonic sequence where the root of each chord moves up by a third.
Example:
A progression like C-Em-G-Bm is an ascending thirds sequence.
Descending fifths progressions
A common harmonic sequence where chords move down by a fifth (or up by a fourth), often forming a 'circle of fifths' pattern.
Example:
The progression C-F-Bb-Eb-Ab is a series of descending fifths progressions.
Descending thirds sequences
A harmonic sequence where the root of each chord moves down by a third.
Example:
A progression like C-Am-F-Dm is an example of a descending thirds sequence.
Escape Tones
A non-chord tone that steps away from a chord tone and then leaps in the opposite direction to a chord tone.
Example:
A melody moving from C to D (step up) then leaping down to B (chord tone) uses an escape tone on D.
Extension (motive)
Lengthening a motive by repeating a portion of it or adding new material to its end.
Example:
Taking a two-note motive and repeating the second note several times before moving on is an extension.
Fonte (harmonic sequence)
A descending harmonic sequence, where the repeated chord progression moves to lower pitch levels.
Example:
A circle of fifths progression moving downwards (e.g., C-F-Bb-Eb) is a classic Fonte sequence.
Fragmentation (motive)
Taking a small piece or segment of a motive and repeating it, often in sequence.
Example:
Repeating just the rhythmic pattern of a motive without its original pitches is a type of fragmentation.
Harmonic Sequences
A chord progression that is repeated immediately at a different pitch level, often used to prolong a harmonic area or modulate.
Example:
A I-IV progression repeated as ii-V, then iii-vi, is a harmonic sequence.
Inversion (motive)
Reversing the direction of the intervals within a motive; an ascending interval becomes descending, and vice versa.
Example:
If a motive goes up a third then down a second, its inversion would go down a third then up a second.
Linear Intervallic Pattern (LIP)
A pattern formed by the consistent interval relationship between the outer voices (soprano and bass) in a harmonic sequence.
Example:
A sequence where the soprano and bass consistently move in parallel tenths creates a 10-10 linear intervallic pattern.
Lower Escape
An escape tone that steps down from a chord tone and then leaps up to a chord tone.
Example:
From an E, stepping down to D and then leaping up to G (over a C major chord) demonstrates a lower escape on D.
Lower Neighbor
A neighbor tone that steps down from a chord tone and then returns to it.
Example:
Playing E-D-E over an E minor chord illustrates a lower neighbor.
Melodic Sequences
A musical idea or phrase that is repeated immediately at a different pitch level, creating a sense of echo or progression.
Example:
A rising scale fragment repeated a step higher, then another step higher, forms a melodic sequence.
Monte (harmonic sequence)
An ascending harmonic sequence, where the repeated chord progression moves to higher pitch levels.
Example:
A common Monte sequence might involve a series of ascending 5-6 chords.
Motive
A short, distinctive musical idea that serves as a building block for larger musical themes and is often repeated or varied.
Example:
The famous four-note opening of Beethoven's Fifth Symphony is a classic motive.
Motivic Transformation
Various techniques used to alter a motive while retaining its recognizable identity, contributing to musical development.
Example:
Changing the rhythm or pitch direction of a theme while keeping its core melodic shape is a form of motivic transformation.
Neighbor tone
A non-chord tone that steps away from a chord tone and then immediately returns to the original chord tone.
Example:
If you play C-D-C over a C major chord, the D is a neighbor tone to C.
Non-chord tones
Notes that do not belong to the main harmony of a chord but add flavor and complexity to the music.
Example:
In a C major chord, an F# would be a non-chord tone if it's not part of a temporary modulation.
Pachelbel sequences
A specific harmonic sequence characterized by a descending fourth followed by an ascending second, famously used in Pachelbel's Canon.
Example:
The progression D-A-Bm-F#m-G-D-Em-A is a classic example of a Pachelbel sequence.
Parallel 6/5 chord sequences
A harmonic sequence featuring a series of first inversion seventh chords (6/5) moving in parallel motion, often with suspensions or retardations.
Example:
A series of G6/5 - A6/5 - B6/5 chords would be a parallel 6/5 chord sequence.
Passing tone
A non-chord tone that connects two chord tones by step, creating a smooth melodic transition.
Example:
In a C major scale, playing C-D-E where D is not part of the C major chord, D acts as a passing tone between C and E.
Pedal Points
A sustained note, typically in the bass, held while the harmonies above it change, often creating tension.
Example:
A low C held throughout several changing chords like C-F-G-C creates a pedal point.
Ponte (harmonic sequence)
A harmonic sequence that is neither strictly ascending nor descending, often acting as a bridge between sections.
Example:
A sequence that alternates between two pitch levels without a clear upward or downward trend could be a Ponte.
Retardation
Similar to a suspension, where a chord tone is held over from a previous chord, but it resolves upward by step to a chord tone of the new harmony.
Example:
If a B is held over from a G major chord and resolves upward to C in a C major chord, it's a retardation.
Suspension
A chord tone held over from a previous chord, creating a dissonance that resolves downward by step to a chord tone of the new harmony.
Example:
In a G major chord moving to C major, if the G (from G major) is held over and resolves down to F (part of C major), it's a suspension.
Transposition (motive)
Moving an entire motive to a different pitch level, either higher or lower, while maintaining its intervallic structure.
Example:
Playing a melody in C major and then repeating the exact same melody starting on G is an example of transposition.
Truncation (motive)
Shortening a motive by cutting off its end.
Example:
If a four-note motive is presented as only its first two notes, it has undergone truncation.
Unaccented passing tone
A passing tone that occurs on a weaker beat, providing a smooth and less prominent melodic connection.
Example:
In 4/4 time, a unaccented passing tone might fall on beat two or four, subtly linking chord tones.
Upper Escape
An escape tone that steps up from a chord tone and then leaps down to a chord tone.
Example:
In a C major context, playing C-D (step up) then leaping to G (chord tone) uses an upper escape on D.
Upper Neighbor
A neighbor tone that steps up from a chord tone and then returns to it.
Example:
In a melody, moving from G to A and back to G (over a G major chord) demonstrates an upper neighbor.
Voice Exchange
A contrapuntal device where two voices swap notes, often involving a bass and soprano line, creating a smooth melodic and harmonic effect.
Example:
If the soprano moves C-D while the bass moves E-D, they are performing a voice exchange on the D.