Harmony and Voice Leading Flashcards
Tonic
“I” in a given key, home base (gravitational center). Chord built on scale degree 1 in a given key
Dominant
V7 in a given key, tension. Chord built on scale degree 5. In a major key such as A, dominant would be an E major chord with a dominant 7th (E, G#, B, D)
Subdominant
Chord based on scale degree IV of a scale.
Mediant
Based on III of a scale
Submediant
Based on VI of a scale
Leading tone
Scale degree VII, which leads to the tonic.
Subtonic
Lowered 7
Secondary dominant
V7 of V, or an applied chord (temporary dominant
Secondary function
Chord functioning in another key than the main key of the passage
Tonicization
Briefly experiencing a key other than the tonic (using applied dominant chords)
Modulation
Changing of keys away from main tonal center
Mixture
The use of tones from one mode (major/minor) that is predominantly in the other mode. Typically during pre-dominant function, substituting a new mode within the primary key to function as a pre=dominant
6/4 chord types
- Neighboring 6/4 (N 6/4)- IV 6/4 Silent night (weak beat)
- Passing 6/4 (P 6/4) - Connect 5/3 to 6/3 inversion (V with the 5th in the bass)
- Pedal 6/4 - I-IV6/4 - I, or V - I6/4 - V. Acts like suspension.
- Cadential 6/4 - Accented 6/4 (early classical). Dominant harmony, 5th and 3rd postponed by a dissonant 4th and 6th.
Neapolitan 6th
Predominant chromatic harmony. Built on flat 2in 1st inversion. Typically found in the minor mode.
Augmented 6th chords
Bass scale degree b6, upper voice # scale degree 4. Predominant chord, outer voices resolve to scale degree 5 in octaves. (Mostly in minor)
• Italian - (It+6) - Scaled degrees b6, #4, 1 (figured bass 6 with slash through it over 3)
• German - (Ger +6/5) - b6, #4, 1, b3
• French - (Fr+4/3) - b6, #4, 1, 2
9th chord
Adds scale degree 2 to major or minor chord
pivot chord
1) Allows for smooth transition from minor to major (ex: iv in minor acts like ii in relative major),
2) also used between related keys to modulate to a new related key
Enharmonically equivalent
Sometimes avoids excess accidentals modulating to a particular scale degree/key.
Parallel keys
Emaj to Emi (for example
Relative keys
Emaj to C# mi
Closely related keys
A difference of no more than one sharp or flat when comparing two key signatures.
To figure out closely related keys, the keys (and relative minors) based on Subdominant and Dominant chords, plus relative minor.
Example: Related to C - G, Em, Am, Dm, F
Chromatic mediants
Related to tonic by maj/minor third, share the same major or minor quality (G major - Bb major) (G major-B major).(G major-E major) (G major-Eb major)
distantly related keys
Ex: E min to Bb maj. Not enharmonic, parallel, relative or closely related
Circle of fifths
A clock-face diagram that displays the relationships between different keys. When moving clockwise, each key adds one sharp. Counterclockwise, adds one flat.
Composers utilize circle of fifths within sequences.
Parallel fifths and octaves
5ths of 8ths moving in scalar, stepwise motion together
Polyphony
Two or more voices moving independently. No voice is identified as the melody
Homophony
Two or more voices moving together, top one is the melody
Set class
A family of pitch class sets related by Transposition (Tn) or Inversion (TnI). There are usually 24 members in a set class (12 transpositions and 12 inversions for all chromatic possibilities) Prime form - begins with 0, and numbers most packed to the left.
Twelve tone row
A Specific precompositional ordering of 12 pitch classes determined by the composer. No pitch class may be used again until all other pitch classes have been sounded. Series of notes may be used in transposition, retrograde or retrograde inversion.
