Chapter+15

Chapter 15

Arpeggiating 6/4 – a type of 6/4 when the bass line plays each chord members in order or alternates between the root and fifth.

Cadential 6/4 – embellishes the V chord by using 6-5 and 4-3 suspension-like motions above the sustained dominant bass note.

Contextual analysis – analysis of the basic phrase model; identifying any passing chords.

Diminished seventh – a fully diminished seventh; a chord with a diminished triad and a diminished seventh.

Dominant substitute – any vii chord that would substitute for the dominant chord, which is a little weaker than the V chord.

Half-diminished seventh – a seventh chord with a diminished triad and a minor seventh.

Leading-tone chord – harmonies built on any type of vii chord.

Passing 6/4 – a 6/4 chord that is used between two same harmonies with the bass line used as a passing tone between the two chords.

Neighboring 6/4 - A 6/4 chord used between two same harmonies and the bass line is the same with the two upper voices between the harmonies; used to prolong the harmony.

Predominant – any chord built on scale degrees 2, 4, or 6 and happens before the dominant.

Prolongation – process of elongating the length of the harmony by using chords or other embellishing tones.

Tonic expansion - an extension of tonic function by using embellishing tones and chords.

Vertical Analysis – analysis of identifying each chord member.

Voice Exchange – when two voices switch chord members, usually embellished with a passing tone.