Glossary of Analytical Symbols

APPENDIX D: GLOSSARY OF ANALYTICAL SYMBOLS

The following is an explanation of the meaning of the symbols used in the full analyses in this book. Where the symbols are used differently (in certain situations for greater clarity) these are explained in the text.

The general principle that applies is that notes in the analyses represent the actual pitches of the notes in the music but not the note duration. White note heads represent structural notes and black note heads represent non-structural notes. Some other symbols are also used for specific analytical purposes which are not the same as in normal notation.

This glossary shows the full range of symbols used, Structural, Motivic, Formal, Voice Leading etc. It is intended as a reference. The symbols and their meanings are also introduced in the text of the book and analyses as appropriate.

	A structural note, part of a structural (or functional) chord.
	A non-structural note, A note which results from voice leading patterns that elaborate on the underlying structural chords. These are normally annotated as follows: P = Passing note, A = Auxiliary note, App = Appoggiatura. Sus = Suspension. etc.
	A chord which results from voice leading patterns. These can be one of the following: Passing Chords, Auxiliary Chords, Appoggiatura Chords These should not be confused with structural chords.
	Connects notes that belong to a single structural (or functional) chord. Used to show the extent of a single structural chord. Connects repeated structural notes and arpeggiated structural notes Connects an appoggiatura (or suspension) and the structural note it resolutions onto Occasionally used to show connection between repeating non-structural notes for clarity
	Shows a note that is relevant to a voice leading pattern and which is part of the structural chord in question but is present in a different voice. This is usually due to reasons of voicing.
	Shows a linear progression. The white note heads indicate the structural notes being connected and the black note heads show the notes moving step by step between the structural notes. The symbols are sometimes used where only a single passing note is involved in order to aid clarity. (Instead of just showing "P", see above)
	Shows "voice exchange" i.e. where the notes of a chord are exchanged between voices. For example, a root in the bass may move to the top voice whilst a third of a chord in the top voice moves to the bass. The arrows indicate the movement of the elements of the chord. This is a common voice leading device.
	Represent the three "strong" root progressions that are used most commonly in dynamic harmony in common practice tonal music. α (alpha progression) = rising 4th progression β (beta progression) = falling 3rd progression. γ (gamma progression) = rising 2nd progression
	Represent the three "weak" root progressions that are generally avoided in dynamic harmony in tonal music. α' (alpha' progression) = falling 4th progression β' (beta' progression) = rising 3rd progression. γ' (gamma' progression) = falling 2nd progression
Roman Numerals: I, II, III, IV, V, VI, VII	These are used to describe the function of structural chords within the current key. i.e. I = tonic triad, II = supertonic triad, III = mediant triad, IV = subdominant triad, V = dominant triad, VI = submediant triad, VII = leading note triad. In the major key: I, IV and V are major, II, III, VI are minor and VII is diminished. These can be referred to as relative chord names as they describe chord function in relation to a particular key. They are only useful where the key is clear and there is no modulation involved. See "guitar chords" below.
Roman Numerals: i, ii, iii, iv, v, vi, vii	Lower case roman numerals are sometimes used to signify minor versions of the triads indicated, if this is desirable for clarity. See note above.
ii° , vii°	The small circle is used to signify a diminished chord, where this is desirable for clarity. This character can be typed by holding down alt and typing 0186 in Word on a PC in Times New Roman or by: Insert, symbol from the menu.
III+	The plus sign is used to signify an augmented 5th chord, where this is desirable for clarity.
	A diminished 7th chord. This can be qualified as follows: t.l. = tonic leading d.l. = dominant leading s.t. = supertonic leading See Chapter 3 part 2 for more details.
A, A min, A7 etc	"Guitar Chord" Symbols. These are used in preference to roman numerals where the key is changing or not clear, for greater clarity. These can be referred to as absolute chord names as they describe the actual chord without making any assumption about key. This is the most objective way of describing chords.
Figured Bass: 2, 3, 4, 5, 6, 7 etc	Figured bass symbols are used under the score where this is helpful to highlight voice leading patterns in the music or to signify that a chord is in a particular inversion. For instance "6" indicates a first inversion chord. These numbers always indicate intervals from the bass.
	Denotes an auxiliary chord. i.e. a chord which is preceded and followed by the same chord, usually the tonic or dominant chord. It creates a static harmony pattern prolonging one of those chords.
1. 2. etc	Bar numbers.
	A static harmony pattern prolonging the tonic chord. Here showing chord IV used as an auxiliary chord (see above).
	Dominant Prolongation - a static harmony or voice leading pattern prolonging the dominant chord.
	Static Coda - a static harmony pattern prolonging the tonic chord of the cadence. Here showing chord IV used as an auxiliary chord.
	*Syntax Diagram Symbols.*
	Symbols used to number phrases . These may or may not be sub-phrases of larger phrase structures.
P	Phrase. This may or may not be a sub-phrase of a larger structure.
O	Opening section of the phrase.
C	Closing section of the phrase.
S.H.	Static Harmony. Shown in the opening section of the syntax diagram to signify the prolongation of the tonic chord.
D.H.	Dynamic harmony. The chord progression in the closing section of the musical phrase that connects the opening section static harmony to the cadence.
Cad	The Cadence that completes the phrase or sub-phrase. This is usually V to I (dominant to tonic) in a complete, tonal phrase.
D.I.	Dynamic Introduction. A subdivision of the opening section which sometimes precedes the static harmony as a lead-in to the static harmony. The structure of this is the same as the closing section of the phrase, i.e. it can contain dynamic harmony and a cadence and a dominant prolongation. This is an example of embedding as the closing section here forms and integral part of the main phrase.
D.P.	The Dominant Prolongation. This is a prolongation of the dominant chord which is part of the cadence. This can be made up of static harmony or voice leading elaboration of the dominant.
S.C.	The Static Coda. This is a prolongation of the tonic chord of the cadence. This can be made up of static harmony or voice leading elaboration of the tonic.
V	The dominant chord in the cadence.
I	The tonic chord in the cadence.
(1 - 2)	Bar numbers indicated on syntax diagrams to show the extent of a particular segment.
	Connectors showing the conjoining of sub-phrases into larger phrase structures.
	Phrase diagram symbol showing that a segment is absent, therefore resulting in an incomplete phrase.
	Shows the extent of a motivic element "a".
	Shows the extent of a variant of motivic element "a".
	The start of Formal element "A". Used to annotate the formal layout of the music. Example "Ternary Form" is A B A.

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