| Harmonic Progression | The ways in which chords are selected.
|
 |
|
|
| Voice Leading | The ways in which chords are produced by the motions of individual musical lines.
|
|
|
|
| Counterpoint | Refers to the combining of relatively independent musical lines.
|
|
|
|
| Focal Point | The highest note of the melody.
|
|
|
|
| Voicing | How the chord is to be distributed or spaced.
|
|
|
|
| Musical Score | A tool used by a composer, conductor, or analyst that shows all the parts of an ensemble arranged one above the other, enabling the experienced reader to "hear" what the composition will sound like.
|
|
|
|
| Full Score | All or most of the parts of a score are notated on their own individual staves.
|
|
|
|
| Reduced Score | The score is notated at concert pitch on as few staves as possible.
|
|
|
|
| Close Structure | Less than an octave between soprano and tenor.
|
|
|
|
| Open Structure | An octave or more between soprano and tenor.
|
|
|
|
| Objectionable Parallels | What results when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to new pitch classes that are separated by the same interval.
|
|
|
|
| Direct (or hidden) 5th or 8ve | What results when the outer parts move in the same direction into a P5 or P8, with a leap in the soprano part.
|