Terms : Hide Images
| 6470816318 | Capital Roman numerals denote | major triads. | 0 | |
| 6470824987 | Lowercase Roman numerals denote | minor triads. | 1 | |
| 6470827921 | A capital Roman numeral with a " + " indicates | an augmented triad. | 2 | |
| 6470834436 | A lowercase Roman numeral with a " ° " indicates | a diminished triad. | 3 | |
| 6470852233 | Arabic numerals or figured-bass symbols denote intervals above the bass and | hence indirectly indicate chord inversion. | 4 | |
| 6470856842 | Arabic numerals may indicate voice leading and/or | nonharmonic tones. | 5 | |
| 6470866316 | 6 indicates | a first inversion triad | 6 | |
| 6470868738 | 6 4 indicates | a second inversion triad | 7 | |
| 6470875991 | 7 indicates | a root-position seventh chord | 8 | |
| 6470881619 | °7 indicates | a diminished (fully-diminished) seventh chord | 9 | |
| 6470907286 | ø7 indicates | a half-diminished seventh chord | 10 | |
| 6470912440 | 6 5 indicates | first inversion | 11 | |
| 6470915264 | 4 3 indicates | second inversion | 12 | |
| 6470919484 | 4 2 indicates | third inversion | 13 | |
| 6470925933 | 8-7 indicates | melodic movement from an octave to a seventh above the bass. | 14 | |
| 6470929654 | 9-8, 7-6, 4-3 indicate | a suspension and melodic resolution. | 15 | |
| 6470933774 | An accidental before an Arabic numeral indicates | alteration of the interval involved. | 16 | |
| 6470942116 | A numeral with a slash (e.g., a slashed 6 ) or a plus (e.g., 4+) indicates | that the note creating the interval in question is raised a half step | 17 | |
| 6470993113 | authentic cadence | V or vii° to I | 18 | |
| 6470993114 | imperfect authentic cadence (AC) | all ACs that are not PACs, with also vii° - I | 19 | |
| 6470995355 | perfect authentic cadence (AC) | V(7) to I (with tonic in soprano) | 20 | |
| 6470999635 | conclusive cadence | a cadence ending with the tonic triad; Includes authentic and plagal cadences. | 21 | |
| 6471010710 | deceptive cadence | A chord progression where the dominant chord is followed by a chord other than the tonic chord usually the sixth chord or superdominant chord or submediant chord (V-VI), but sometimes something else; V to anything but I (usually vi) | 22 | |
| 6471012664 | half cadence | A chord progression where the dominant chord is the final chord of the cadence and is preceded by the tonic chord in second inversion (6/4-V). It should be noted that this pattern produces two chords with the same bass note in both chords. The "I" represents the chord based on the first step of the scale (with the 6/4 indicating second inversion) and the "V" represents the chord based on the fifth step of the scale. In the tonality of "C" major, a half cadence would be the tonic in second inversion (I 6/4) C major chord (G C E) moving to the dominant (V) G major chord (G B D); ends in V | 23 | |
| 6471017356 | phrygian half cadence | 24 | ||
| 6471019177 | inconclusive cadence | 25 | ||
| 6471023187 | triad | 26 | ||
| 6471023188 | augmented or + triad | 27 | ||
| 6471028867 | diminished or ° triad | 28 | ||
| 6471031531 | major or M triad | 29 | ||
| 6471031532 | minor or m triad | 30 | ||
| 6471042780 | seventh chords | 31 | ||
| 6471042781 | major seventh (MM; M7) ("major-major") | 32 | ||
| 6471050652 | dominant seventh (Mm7) (used for major-minor seventh chords exercising a dominant function) | 33 | ||
| 6471052417 | major-minor seventh (Mm7) (same quality as dominant seventh without denoting function) | 34 | ||
| 6471057483 | minor seventh (m7; mm) ("minor-minor" | 35 | ||
| 6471059503 | half-diminished seventh (ø7; dm) ("diminished-minor") | 36 | ||
| 6471059504 | fully-diminished seventh (°7; dd) ("diminished-diminished") | 37 | ||
| 6471074999 | Scale degrees/diatonic chord names: tonic | 38 | ||
| 6471085155 | Scale degrees/diatonic chord names: supertonic | 39 | ||
| 6471088103 | Scale degrees/diatonic chord names: mediant | 40 | ||
| 6471094832 | Scale degrees/diatonic chord names: subdominant | 41 | ||
| 6471097313 | Scale degrees/diatonic chord names: dominant | 42 | ||
| 6471099416 | Scale degrees/diatonic chord names: submediant | 43 | ||
| 6471102123 | Scale degrees/diatonic chord names: subtonic | 44 | ||
| 6471102124 | Scale degrees/diatonic chord names: leading tone | 45 | ||
| 6471110510 | Functions: tonic function | 46 | ||
| 6471112222 | Functions:dominant function | 47 | ||
| 6471112223 | Functions: predominant function | 48 | ||
| 6471118249 | Circle of fifths | 49 | ||
| 6471118250 | Deceptive progression | 50 | ||
| 6471124959 | Harmonic rhythm | 51 | ||
| 6471126900 | Modulation | 52 | ||
| 6471131057 | common tone modulation | 53 | ||
| 6471133087 | phrase modulation | 54 | ||
| 6471137465 | pivot chord modulation | 55 | ||
| 6471143922 | Neighboring chord | 56 | ||
| 6471145887 | Rate of harmonic change | 57 | ||
| 6471149026 | Realize | 58 | ||
| 6471149027 | realization of a figured bass | 59 | ||
| 6471154262 | realization of a four-part Roman | 60 | ||
| 6471157953 | numeral progression | 61 | ||
| 6471159414 | Retrogression | 62 | ||
| 6471165595 | Secondary dominant | 63 | ||
| 6471166943 | Secondary leading tone chord | 64 | ||
| 6471166944 | Tonicization | 65 | ||
| 6471175080 | Nonharmonic Tones | 66 | ||
| 6472432633 | Anticipation | 67 | ||
| 6472435879 | Appoggiatura | 68 | ||
| 6472440889 | Embellishment | 69 | ||
| 6472446465 | Escape tone (échappeé) | 70 | ||
| 6472440890 | Neighboring tone | 71 | ||
| 6472458885 | auxiliary tone | 72 | ||
| 6472460772 | embellishing tone | 73 | ||
| 6472460773 | neighbor note | 74 | ||
| 6472465946 | double neighbor | 75 | ||
| 6472473268 | lower neighbor | 76 | ||
| 6472475799 | upper neighbor | 77 | ||
| 6472477866 | neighbor group | 78 | ||
| 6472481131 | cambiata | 79 | ||
| 6472483592 | changing tones | 80 | ||
| 6472483685 | changing notes | 81 | ||
| 6472491103 | Ornament | 82 | ||
| 6472497588 | Passing tone | 83 | ||
| 6472504659 | Passing tone, accented | 84 | ||
| 6472507300 | Passing tone, unaccented | 85 | ||
| 6472511125 | Pedal point | 86 | ||
| 6472511126 | Preparation | 87 | ||
| 6472517179 | Nonharmonic tones: Resolution | 88 | ||
| 6472524713 | Retardation | 89 | ||
| 6472527116 | Suspension | 90 | ||
| 6472527233 | rearticulated suspension | 91 | ||
| 6472529102 | suspension chain | 92 | ||
| 6472541018 | Spacing/Voicing/Position: Alto | 93 | ||
| 6472545568 | Spacing/Voicing/Position: Bass | 94 | ||
| 6472567068 | Spacing/Voicing/Position: Close position | 95 | ||
| 6472571657 | Spacing/Voicing/Position:Doubling | 96 | ||
| 6472571701 | Spacing/Voicing/Position: First inversion | 97 | ||
| 6472577150 | Spacing/Voicing/Position: Inversion, inversion of chords | 98 | ||
| 6472580005 | Spacing/Voicing/Position: Open position | 99 | ||
| 6472587703 | Spacing/Voicing/Position: Root | 100 | ||
| 6472596090 | Spacing/Voicing/Position: Root position | 101 | ||
| 6472599453 | Spacing/Voicing/Position: Second inversion | 102 | ||
| 6472602087 | Spacing/Voicing/Position: Soprano | 103 | ||
| 6472602122 | Spacing/Voicing/Position: Tenor | 104 | ||
| 6472604398 | Spacing/Voicing/Position: Third inversion | 105 | ||
| 6472612242 | Common tone | 106 | ||
| 6472616002 | Contrary motion | 107 | ||
| 6472619770 | Cross relation (false relation) | 108 | ||
| 6472621281 | Crossed voices (voice crossing) | 109 | ||
| 6472626513 | Direct fifths (hidden fifths) | 110 | ||
| 6472631244 | Direct octaves (hidden octaves) | 111 | ||
| 6472634864 | Oblique motion | 112 | ||
| 6472634865 | Overlapping voices | 113 | ||
| 6472637495 | Parallel motion | 114 | ||
| 6472644685 | Parallel intervals | 115 | ||
| 6472644686 | Parallel intervals: objectionable parallels | 116 | ||
| 6472654635 | Parallel intervals: parallel fifths | 117 | ||
| 6472656682 | Parallel intervals: parallel octaves | 118 | ||
| 6472656683 | Similar motion | 119 | ||
| 6472664987 | Tendency tone | 120 | ||
| 6472668845 | Unresolved leading tone | 121 | ||
| 6472670609 | Unresolved seventh | 122 | ||
| 6472670610 | Voice exchange | 123 | ||
| 6472678266 | Arpeggio | 124 | ||
| 6472680472 | arpeggiation | 125 | ||
| 6472680473 | Chromatic | 126 | ||
| 6472685972 | Common Practice Style | 127 | ||
| 6472689521 | Consonance | 128 | ||
| 6472689522 | Diatonic | 129 | ||
| 6472692403 | Dissonance | 130 | ||
| 6472699807 | Figured bass | 131 | ||
| 6472702032 | Flatted fifth | 132 | ||
| 6472705689 | Lead sheet | 133 | ||
| 6472707455 | Picardy third | 134 | ||
| 6472707456 | Resolution | 135 | ||
| 6472724292 | Interval | 136 | ||
| 6472782298 | Intervals: Compound interval | 137 | ||
| 6472787760 | Intervals: Half step (semitone) | 138 | ||
| 6472791143 | Intervals: Inversion, inversion of an interval | 139 | ||
| 6472793601 | Intervals: Numerical names (i.e., third, fifth, octave) | 140 | ||
| 6472800352 | Intervals: Tritone | 141 | ||
| 6472800353 | Intervals: Unison (prime) | 142 | ||
| 6472805468 | Intervals: Whole step (whole tone) | 143 | ||
| 6472807020 | Intervals: Perfect | 144 | ||
| 6472807021 | Intervals: Major | 145 | ||
| 6472809854 | Intervals: Minor | 146 | ||
| 6472809855 | Intervals: diminished | 147 | ||
| 6472811610 | Intervals: augmented | 148 | ||
| 6472821040 | Treatment of second inversion ( 6/4 ) triads: Arpeggiating 6/4 | a 6/4 created by arpeggiation of the triad in the bass | 149 | |
| 6472870579 | Treatment of second inversion ( 6/4 ) triads: Cadential 6/4 | a I6/4 preceding the dominant, often at a cadence. Although it contains the notes of the tonic triad, it does not exercise a tonic function but rather serves as an embellishment of the dominant. It occurs in a metrically stronger position than the dominant, and the upper voices most often move by step to the tones of the dominant. May also be written as V6/4 ----5/3 , including the resolution of the cadential 6/4 to the dominant | 150 | |
| 6472924294 | Treatment of second inversion ( 6/4 ) triads: Neighboring or pedal 64 (embellishing 6/4, auxiliary 6/4 ) | occurs when the third and fifth of a root position triad are embellished by their respective upper neighboring tones, while the bass is stationary, usually occurring on a weak beat | 151 | |
| 6472935141 | Treatment of second inversion ( 6/4 ) triads: Passing 6/4 | harmonizes the second note of a three-note ascending or descending scale fragment in the bass; that is, it harmonizes a bass passing tone. The usual metric placement is on an unaccented beat and the motion of the upper voices is ordinarily by step | 152 |
