<\/p>\n
Harmonic Process: I’m not entirely sure about this one. I believe its the generation of chords by playing notes at the same time.<\/p>\n
6th Chord as Extension: Using the 6th chord (or first inversion) as a suffix or prefix to its parent triad.<\/p>\n
6th Chord as Representative: Using the 6th chord in place of its parent triad.<\/p>\n
Dissonant Diatonic 6th Chords: The three dissonant diatonic triads (VII in major and minor and II in minor) are usually represented by their 6th chords.<\/p>\n
Parent Triad: The triad from which the inversions are derived. See fundamental position.<\/p>\n
Parallel 6th Chords: When 6th chords are voiced in succession they require a different doubling so as to avoid parallel fifths and octaves. This technique is called alternate doubling.<\/p>\n
Fundamental Position: The chord positioned so that the fundamental or root note of the chord is in the lowest voice.<\/p>\n
First Inversion: The chord positioned so that the 3rd is in the lowest voice, and the root of the chord is in the highest voice.<\/p>\n
Second Inversion: The chord positioned so that the 5th is in the lowest voice, and the 3rd is the highest voice.<\/p>\n
<\/p>\n
<\/p>\n
Harmonic Progression: The selecting and ordering of harmonies in such a way that they form coherent and effectiv units of several chords. In a larger context, it is the progression of harmonies and harmonic units over the span of an entire composition.<\/p>\n
Interval of Progression: The intervals by which the diatonic triads are measured in relation to the tonic.<\/p>\n
Diatonic Location (position): The location of each diatonic triad is described in terms of its distance from I as measured by the bass interval of the descending 5th. Thus, the order of chords is I, V, II, VI, III, VII, IV.<\/p>\n
Primary Triads: The tonic is considered to be of primary importance in tonal music. The fifth identifies or delimits the tonic triad. Just as the 5th delimits the triad, so the cadential succession V I delimits the key. The triads I and V are thus considered the primary triads.<\/p>\n
Secondary Triads: The triads based on the remaining scale degrees are considered secondary triads.<\/p>\n
Dominant Preparation: The stepwise movement of the IV or VI chords to the V chord.<\/p>\n
3rd Relationship: The movement of the bass in intervals of 3rds.<\/p>\n
Secondary Dominant Triad: A dominant chord which is borrowed from another key. This dominant chord sets up resolution to a chord which is not the tonic. The chord which is resolved to can be thought of as a temporary tonic (if this temporary tonic is used extensively [as in for more than a phrase] or is used as a new permanent tonic, then this is called a modulation).<\/p>\n
Harmonic Direction: The two essential harmonic directions are toward the I and toward the V.<\/p>\n
Harmonic Axis: The primary diatonic triads are the harmonic axis of tonal music.<\/p>\n
Circular Progression: Departs from a chord and has as its goal the same chord-for example I I or V V.<\/p>\n
Opening Progression: Departs from one chord and has as its goal a different chord. The prime example is I V.<\/p>\n
Closing Progression: A progression which returns to I usually from V.<\/p>\n
Harmonic Sequence: A progression which involves the repetition of a bass and chord pattern.<\/p>\n
Phrase: A musical unit. Often two or more of these will make up a period.<\/p>\n
Period: A complete musical thought, concluded by a cadence. Often it is divided up into two (or more) phrases. The first phrase opens to the dominant and is called the antecedent phrase, while the following phrase is called the consequent phrase.<\/p>\n
Harmonic Function: The role of each scale degree (and its triad) in relation to the tonic.<\/p>\n
Substitution: The exchange of one diatonic triad for another which has the same direction in relation to the harmonic axis. For example, the dominant preparations II, IV, and VI are interchangeable.<\/p>\n
Subdominant: The IV triad is called subdominant because it occupies a position below the tonic triad analagous to that occupied by the dominant above (the tonic is a fifth above the subdominant). The IV chord is often used in preparation for the V. It is, however, sometimes used independently to serve a melodic function or to form a plagal cadence in a IV I succession.<\/p>\n
Submediant: The VI triad is called submediant because it occupies a position below the tonic triad analagous to that occupied by the mediant above (the tonic is a third above the submediant). VI may be used as a dominant preparation in both major and minor. Another important role the VI fills is as a substitute for the tonic triad in major.<\/p>\n","protected":false},"excerpt":{"rendered":"
Chapter 3: The Harmonic Progression of Chord Generation: Sixth Chords Harmonic Process: I’m not entirely sure about this one. I believe its the generation of chords by playing notes at the same time. 6th Chord as Extension: Using the 6th chord (or first inversion) as a suffix or prefix to its parent triad. 6th […]<\/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\/905"}],"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=905"}],"version-history":[{"count":0,"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/posts\/905\/revisions"}],"wp:attachment":[{"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/media?parent=905"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/categories?post=905"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.evergreen.edu\/musicalcities\/wp-json\/wp\/v2\/tags?post=905"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}