Glossary
Accidentals
Symbols (sharps, flats, naturals) that alter the pitch of a note, often indicating a temporary shift in tonality or the presence of secondary chords.
Example:
Seeing an F# in C major might indicate a secondary dominant or leading tone chord, as F# is an accidental not in the C major scale.
Closely Related Keys
Keys that share many common tones and are typically a perfect fifth above or below the original tonic, or their relative major/minor.
Example:
For C major, G major (V), F major (IV), A minor (vi), D minor (ii), and E minor (iii) are its closely related keys.
Deceptive Motion
A variation of a deceptive cadence where the expected tonic chord is replaced by a secondary leading tone chord resolving to the submediant (vi), creating a smoother, more conclusive feel.
Example:
A V-vii°/vi-vi progression in C major (G-B-D-F to A#-C#-E-G to A-C-E) demonstrates deceptive motion with tonicization.
Distantly Related Keys
Keys that share few common tones with the original tonic and are typically reached through more complex harmonic progressions or sequences.
Example:
Modulating from C major to E major would be moving to a distantly related key, often requiring chromaticism or sequences.
Dominant Function
The harmonic tendency of chords, particularly V and vii°, to strongly resolve to the tonic, creating a sense of arrival and stability.
Example:
The V⁷ chord in G major (D-F#-A-C) has a strong dominant function, pulling towards G.
Fully Diminished Seventh Chords (vii°⁷)
A diminished triad with a diminished seventh above the root, often found as a leading tone seventh chord (vii°⁷) in both major and minor keys.
Example:
In C major, B-D-F-A♭ is a fully diminished seventh chord (vii°⁷) that resolves strongly to C major.
Half-Diminished Seventh Chords (viiø⁷)
A diminished triad with a minor seventh above the root, typically found as a leading tone seventh chord (viiø⁷) in major keys.
Example:
In C major, B-D-F-A is a half-diminished seventh chord (viiø⁷) that resolves to C major.
Harmonic Sequences
The repetition of a harmonic progression at a different pitch level, often used to facilitate modulation to distantly related keys.
Example:
A series of descending fifths (e.g., C-F-B♭-E♭) is a common harmonic sequence that can lead to new keys.
Leading Tone
The seventh scale degree in a major or harmonic minor scale, which is a half step below the tonic and has a strong tendency to resolve upwards to the tonic.
Example:
In C major, B is the leading tone and typically resolves up to C.
Modulation
The process of changing from one key to another for a sustained period, establishing the new key as the primary tonic.
Example:
A piece starting in C major might modulate to G major, establishing G as the new tonal center.
Part Writing
The process of composing or arranging music for multiple independent melodic lines (voices) while adhering to established harmonic and voice-leading rules.
Example:
When part writing a V-I progression, ensure the leading tone resolves correctly and avoid parallel octaves.
Root Position vii°⁷
A fully diminished seventh chord where the root of the chord is in the bass, which is generally avoided in 18th-century voice leading practice due to its strong dissonance and tendency to create awkward voice movements.
Example:
While a B-D-F-A♭ chord is a vii°⁷ in C, writing it with B in the bass (its root position vii°⁷) is typically considered poor practice in traditional part writing.
Secondary Leading Tone Chords
Chords that function like regular leading tone chords (vii°) but lead to a temporary tonic in a different key, creating a stronger sense of tonicization.
Example:
In C major, a D#-F#-A-C chord (vii°⁷/V) would strongly pull towards G major, the dominant of C, acting as a secondary leading tone chord.
Seventh Chords
Chords consisting of a root, third, fifth, and seventh, often used in secondary functions to add harmonic tension and direction.
Example:
A G-B-D-F chord is a G seventh chord (V⁷) in C major, creating a strong pull to the tonic.
Tonicization
The process of temporarily emphasizing a chord other than the tonic, making it sound like a temporary tonic through the use of secondary chords.
Example:
Using a G# diminished chord (vii°/ii) in A major to make B minor (ii) feel like a temporary tonic is an example of tonicization.
Voice Leading
The horizontal movement of individual melodic lines within a multi-part musical texture, governed by rules to ensure smooth and musically satisfying progressions.
Example:
Proper voice leading dictates that the chordal seventh should resolve downwards by step.