Chapter+19

Applied Chord- A dominant-function harmony (V or vii, with or without the chordal seventh) “applied” to a chord other than tonic. An applied chord typically includes chromatic alterations (relative to the tonic key).

Chromatic voice exchange- The chromatic alteration of one of the pitches in a voice exchange.

Cross Relation- The sudden chromatic alteration of a pitch in one voice part, immediately after the diatonic version has sounded in another voice.

Modulation- A change of key, usually confirmed by a (perfect) authentic cadence.

Neighboring 4/2- A 4/2 chord arising from neighbor tones in all three of the upper parts.

Passing 4/2- A 4/2 chord created by passing motion in the bass.

Secondary dominant- A dominant-function harmony “applied” to a chord other than tonic. A secondary dominant typically includes chromatic alterations (relative to the tonic key).

Secondary leading-tone chord- A leading tone chord that functions as an applied, or secondary, dominant; usually a fully diminished seventh chord.

Temporary tonic- The chord to which a secondary dominant or secondary leading-tone harmony is applied; also known as a “tonicized harmony.”

Tonicization- The result when a chord becomes a temporary tonic by means of a secondary, or applied, dominant. They key of the passage does not really change, and the temporary tonic soon returns to its normal functional role in the primary key.

Voice-leading chord- A “chord” created by combining embellishing tones in the expansion of a structural harmony. In analysis, we label the individual embellishments rather than the chord, or we label the chord as “voice-leading” or as a passing or neighboring chord.