Chapter+12

Basic Phrase – A conclusive phrase that consists of an opening tonic area (T), an optional predominant area (PD), a dominant area (D), and tonic closure (T, a cadence on I). Written in contextual analysis as T-PD-D-T, beneath Roman numerals (vertical analysis)

Cadence – The end of a phrase, where harmonic, melodic, and rhythmic features articulate a complete musical thought

Conclusive Phrase – The second phrase of a period. The consequent phrase ends with a strong harmonic conclusion, usually an authentic cadence

Dominant Area – One of the harmonic areas in a basic phrase. In a conclusive phrase, the dominant area precedes the final tonic close

Half Cadence – An inconclusive cadence on the dominant

Harmonic Rhythm – The rate at which harmonies change in a piece (e.g., one chord per measure or one chord per beat)

Imperfect Authentic Cadence – An authentic cadence weakened by (1) placing the I or V harmony in inversion, or (2) ending the soprano on a scale degree other than scale degree 1

Inconclusive Cadence – A cadence that makes a phrase sound incomplete, as though the music needs to continue further. Generally, either the soprano or the bass ends on a scale degree other than scale degree 1

Perfect Authentic Cadence – A strong conclusive cadence in which a root-position V(7) progresses to a root position I, and the soprano moves from scale-degree 2 or 7 to 1

Resolution – The way a harmony or scale step progresses to the next harmony or pitch. The term usually refers to the manner in which a dissonant interval moves to a consonant one

Tendency Tone – A chord member or scale degree whose dissonant relation to the surrounding tones requires a particular resolution in common-practice style (i.e., chordal sevenths resolve down, and leading tones resolve up)

Tonic Area – Usually the opening and closing area in a basic phrase (T-PD-D-T) -