Glossary
Accented Passing Tone
A passing tone that occurs on a stronger beat or metrical position, creating a momentary dissonance or rhythmic emphasis.
Example:
A composer might use an accented passing tone on beat 1 to create a surprising melodic tension.
Bass Line
The lowest melodic line in a multi-voice composition, providing the harmonic foundation.
Example:
The tuba often plays the bass line in a marching band arrangement.
Chromatic Neighbor Tone
A neighbor tone that includes a note outside the established key's diatonic scale, often involving an accidental.
Example:
In C major, a melody might use C-Db-C, where Db is a chromatic neighbor tone.
Chromatic Passing Tone
A passing tone that includes a note outside the established key's diatonic scale, often involving an accidental.
Example:
Moving from C to D in C major, a composer might insert a C# as a chromatic passing tone (C-C#-D) for added color.
Diatonic Neighbor Tone
A neighbor tone that uses only notes found within the established key's scale.
Example:
In G major, a melody moving G-F#-G uses F# as a diatonic neighbor tone.
Diatonic Passing Tone
A passing tone that uses only notes found within the established key's scale.
Example:
In C major, a melody moving from G to E using A as a diatonic passing tone (G-A-E) stays within the C major scale.
Harmonic Rhythm
The rate at which chords change or harmonies shift in a piece of music.
Example:
A slow ballad typically has a slower harmonic rhythm than a fast dance tune.
Lower Neighbor Tone
A neighbor tone that steps down from a chord tone and then immediately returns to the original chord tone.
Example:
A melody playing E, then D, then E again, uses D as a lower neighbor tone.
Neighbor Tone
A non-chord tone that steps away from a chord tone and then immediately returns to the original chord tone.
Example:
A melody might play C, then D, then return to C, with D functioning as a neighbor tone.
Non-chord tone
A note that is not part of the prevailing harmony (chord) at a given moment, adding melodic interest or embellishment.
Example:
If a G major chord is sounding, an A played in the melody would be a non-chord tone.
Parallel Motion
When two or more voices move in the same direction by the same interval, maintaining a consistent distance between them.
Example:
Two voices moving from C-E to D-F are in parallel motion of a third.
Passing Tone
A non-chord tone that connects two chord tones by step, creating a smooth melodic transition.
Example:
In a C major chord, a melody moving from C to E might use D as a passing tone (C-D-E).
Soprano Line
The highest melodic line in a multi-voice composition, often carrying the primary melody.
Example:
In a hymn, the congregation typically sings the soprano line.
Unaccented Passing Tone
A passing tone that occurs on a weaker beat or metrical position, maintaining the harmonic rhythm.
Example:
In 4/4 time, a unaccented passing tone would typically fall on beat 2 or 4.
Upper Neighbor Tone
A neighbor tone that steps up from a chord tone and then immediately returns to the original chord tone.
Example:
If a melody plays G, then A, then G again, the A is an upper neighbor tone.
Voice Exchange
A compositional technique where two voices swap notes, often involving stepwise motion, creating melodic interest and reinforcing a harmony.
Example:
If the soprano moves C-D and the bass moves E-D, they are performing a voice exchange on D.
Voice Leading
The melodic and harmonic movement of individual musical lines (voices) within a polyphonic texture, aiming for smoothness and clarity.
Example:
Good voice leading ensures that each part in a four-part chorale moves logically and avoids awkward leaps.