Chapter 10: The Rhythmic Process of Chord Generation: Suspension Chords

Suspension Chord: A transient chord formed by carrying over a note from a previous chord. This note, which displaces a note of the prevailing harmony, is called a suspension. A suspension chord is entirely dependent on the chord which it temporarily displaces. A suspension chord does not alter the harmonic function of the chord which it displaces, it instead serves to develop/intensify the rhythmic texture.

Chord of Preparation: The chord which contains the note (or notes) which are about to be suspended.

Chord of Resolution: The chord to which the suspension chord resolves. It occurs on an unaccented beat. The suspended note must resolve stepwise to the note which it has displaced.

Bass Suspension: The bass may be displaced by the note above it, the 2nd. The bass note of a parent 7th chord cannot be displaced.

False 6th Chord: A suspension chord which simulates a 6th chord. Though the tones are the same as a 6th chord, the harmonic function of a chord is still as a suspension chord.

Triple Suspension Chord: A suspension chord may have multiple displaced notes, as in double, triple, or quadruple suspension chords. Each note of suspension should resolve exactly as if it were a single suspension. Each of these displaced notes may resolve independently of one another, so long as the rhythmic qualities of the piece comply.

Interrupted Resolution: The use of submetrical embellishment to interrupt the progression of a suspension to its resolution.

Abbreviated Resolution: A resolution of the suspension which takes place on an isolated short note which stands in place of a longer note.

Anticipation Chord: A partial change of harmony before it is expected. Wherein a suspended chord features a displaced note which resolves, an anticipation chord is a shift away from a harmony.

Chapter 11: Linear Chords

Linear Chord: A dissonant harmony which acts as a transient and melodic movement. They have only a local effect on the harmony, and are classified in two groups: Diatonic and Chromatic.

9th Chord: A chord which includes the interval of a 9th in relation to the root note of the chord. These chords can be dependent or quasi-independent. If the 9th is a suspended note, or is used in passing to connect two chords, it is entirely dependent on the harmony over which it is creating a melodic movement. A 9th chord may be considered quasi -independent when it is voiced on an accented chord over a change of bass.

Appoggiatura Chord: An appoggiatura is an ornamentation or embellishment note. Allen Forte defines the appoggiatura as an “incomplete auxiliary note which recieves metrical or rhythmic accent” (p. 345). It is often written as a grace note. A linear chord which features an appoggiatura is called an appoggiatura chord.

Consonant 6/4: The 6/4 (in figured bass) or the second inversion cannot usually represent its parent chord because it contains the interval of a 4th (which is considered dissonant by Allen Forte). It can, however, represent the parent chord (and be considered consonant) when it immediately follows the parent chord.

Passing 6/4: The second inversion is often used to connect a sixth (or third inversion) chord with its parent chord.

Linear 6th Chord: A 6th chord which is not derived by means of inversion should not be considered related to the parent chord. Thus a 6th chord developed by suspension or through linear movement should not be considered representatives of the parent chord. They serve as dissonances (false consonances) and should be resolved.

Parallel 6th Chords: When linear-6th chords occur in direct succession and in parallel motion, they serve one of two purposes: (1) they neutralize an otherwise dissonant passage: (2) they expand the harmony or a harmonic connection in a highly fluent way.

Italian 6th: An augmented 6th chord (or first inversion) which is derived from the the dominant preparation of the IV^6 (in the minor mode).

French 6th: An augmented 6th chord derived from the dominant preparation of the II^4/3 (in the minor mode).

German 6th: An augmented 6th chord derived from the dominant preparation of the IV^6/5 (in the minor mode).

Linear 4/2: A chromatic dominant preparation that simulates the third inversion of a dominant-7th chord.

Neapolitan Chord: A chord which assimilates the lowered 6th. It was derived from the dominant preparation of the IV in the minor mode and is characteristic of music by late Barogue Neapolitan composers.

Pedal Point: The sustaining of the bass note of either the I or the V below moving chromatic and diatonic harmonies. These harmonies are called pedal-point chords.

Chapter 12: The Techniques of Melodic-Rhythmic Development

Motive: A musical idea which is repeated to the point of becoming a characteristic feature of the melodic structure of a composition.

Theme: A theme is, in relation to a motive, a longer and more complex melody which executes a complete progression. Both themes and motives serve to enhance progressions. They are the patterns by which we tend to recognize a musical piece. They unify and contrast various phases of a composition, signal (or intensify) a climax, etc. The idea of patterns being characteristic points on which we may more readily relate to a piece of music is something I’ll perhaps explore more as I dive into esthetics.

Figuration: When used alone, probably does not refer to figured bass. It instead signifies a general process of melodic embellishment. A figuration may be considered as a short succession of notes. Where a motive is usually considered to be in the foreground of the piece, a figuration is generally thought of musical ideas which doesn’t take the lead. Thus, a motive may become a figuration if it becomes the accompaniment for a new melodic idea.

Augmentation: The expansion of the duration of a motive.

Diminution: Voicing the form of the original motive in a proportionally smaller space of time. (Allen Forte points out that the term “contraction” is perhaps a better term since diminution may also refer to the lowering of a note by a half step, but he offers no alternative to augmentation)

Inversion: Inversion has a different meaning when it’s used in relation to harmonies (as explained earlier) or melodies. When referencing the inversion of a melody, it is meant that the melodic idea is turned upside-down- as in: A B C -> C B A.

Complete Axiliary-Note Pattern: A statement of the main note followed by an auxiliary note (or notes) before the main note is restated. There are four main forms: (1) Main note -> Upper Auxiliary -> Main Note (2) Main Note -> Lower Auxiliary -> Main Note (3) Main note -> Upper Auxiliary -> Main Note -> Lower Auxiliary -> Main Note (4) Main note -> Upper Auxiliary -> Lower Auxiliary -> Main Note

Incomplete Auxiliary-Note Pattern: A motive in which the main note occurs only once, either at the beginning or the end. Thus the upper or lower auxiliary notes may serve as a suffix or a prefix to the main note.

Secondary Auxiliary Note: An additional smaller embellishing auxiliary note which is generally used for rhythmic reasons. This additional embellishment is considered of a subordinate function, and is therefore called secondary to establish its role in the embellishment.

Concealed Passing Note: A passing note which is somewhat buried by other embellishments.

Obligatory Chromatic Auxiliary Note: It is occasionally necessary to use a chromatically-altered auxiliary (or passing) note when their diatonic counterpart would interfere with the melodic progression.