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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.<\/p>\n
Chord of Preparation: The chord which contains the note (or notes) which are about to be suspended.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
Interrupted Resolution: The use of submetrical embellishment to interrupt the progression of a suspension to its resolution.<\/p>\n
Abbreviated Resolution: A resolution of the suspension which takes place on an isolated short note which stands in place of a longer note.<\/p>\n
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.<\/p>\n
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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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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.<\/p>\n
Passing 6\/4: The second inversion is often used to connect a sixth (or third inversion) chord with its parent chord.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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).<\/p>\n
French 6th: An augmented 6th chord derived from the dominant preparation of the II^4\/3 (in the minor mode).<\/p>\n
German 6th: An augmented 6th chord derived from the dominant preparation of the IV^6\/5 (in the minor mode).<\/p>\n
Linear 4\/2: A chromatic dominant preparation that simulates the third inversion of a dominant-7th chord.<\/p>\n
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.<\/p>\n
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.<\/p>\n
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Motive: A musical idea which is repeated to the point of becoming a characteristic feature of the melodic structure of a composition.<\/p>\n
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.<\/p>\n
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.<\/p>\n
Augmentation: The expansion of the duration of a motive.<\/p>\n
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)<\/p>\n
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.<\/p>\n
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<\/p>\n
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.<\/p>\n
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.<\/p>\n
Concealed Passing Note: A passing note which is somewhat buried by other embellishments.<\/p>\n
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.<\/p>\n","protected":false},"excerpt":{"rendered":"
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 […]<\/p>\n","protected":false},"author":1096,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false},"categories":[],"tags":[99],"geo":null,"_links":{"self":[{"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/posts\/1122"}],"collection":[{"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/users\/1096"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/comments?post=1122"}],"version-history":[{"count":0,"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/posts\/1122\/revisions"}],"wp:attachment":[{"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/media?parent=1122"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/categories?post=1122"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/tags?post=1122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}