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Melodic Function (of a chord): Not all chords have strong melodic functions; some are stable consonant chords which have primarily harmonic significance. Melodic function is described in terms of the motion of a dissonant note.<\/p>\n
Resolution: The obligatory progression of dissonant intervals to consonant intervals. Dissonant notes always resolve by step (usually in descending direction) to the nearest consonant note.<\/p>\n
Secondary Dominant 7th Chord: See secondary dominant chord in the last post.<\/p>\n
Minor 7th Chord: The II^7 in diatonic major mode, and the IV^7 in the diatonic minor mode.<\/p>\n
Half Diminished 7th Chord: II^7 in the minor mode. It tends to serve as a dominant preparation.<\/p>\n
Major 7th Chord: Exemplified by IV^7 in the major mode.<\/p>\n
Dominant 7th Chord: Because 7th chords are derived directly from triads, the basic harmonies, they constitute the first and most important class of dissonant chords. Because the dominant 7th chord is derived from a primary triad, it is the most important representative of the entire class of 7th chords. The addition of a 7th does not alter the function of these chords (in fact, it makes their function more apparent). This principle can be applied to all 7th chords: Harmonically, they behave exactly like the diatonic triads from which they derive. They do, however, serve to expand the harmonic content of a progression and make the harmonic direction more specific.<\/p>\n
Overlapping: A cadential chord introduced at the end of a phrase which is then carried over to act as the initial chord of the second phrase.<\/p>\n
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Transferred Resolution: The carrying over of a dissonant note from one chord into another (usually the note is taken up by a different voice in the second chord) before being resolved, as in II^7 -> V^7 -> I.<\/p>\n
Passing Second Inversion: The implementation of the bass note of second inversion of the dominant 7th as a passing note.<\/p>\n
Exchange of Voices: The repetition of a passage wherein the voices parts are exchanged (such as in a round).<\/p>\n
Diminished 7th Chord: An entirely dependent chord derived from an inverted dominant 7th chord by a change of only one note. The diminished 7th shares no notes with the chord of resolution, and every note of the diminished 7th resolves stepwise. It may be thought of as interchangeable with an inverted secondary dominant 7th chord. The diminished 7th is associated with a feeling of greater intensity.<\/p>\n
Internal Dissonance: The dissonance created by a tritone within a chord (such as a dominant 7th chord).<\/p>\n
Obligatory VII^6: I’m really not sure about this one. It might be the rule that VII chords only progress by 5th.<\/p>\n
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Voice: The succession of notes performed by a single human voice or solo instrument.<\/p>\n
Basic Melodic Progression: The term “melodic” is often a somewhat loose term used to designate any succession of notes, regardless of interval. A basic melodic progression is one that moves by 2nd, or by stepwise intervals. Thus we say say that the 2nd and the 7th are melodic intervals, and all other intervals are harmonic.<\/p>\n
Metrical Arpeggiation: A melodic movement which skips up or down to harmonic intervals. Each note has the duration of a metrical unit.<\/p>\n