2. 普通音/Common tone

When the same note occurs in two consecutive chords it may be described as a common tone (common note) and is generally kept in the same voice.

3. 属音/Dominant

　　属音是第五级音，重要性仅次于主音。同样，属音和弦的重要性仅次于主音和弦。完全终止发出最强结尾，进程为从属音和弦到主音和弦V - I. 习惯上附加下属音和弦，使进程变为IV - V – I。

The dominant is the fifth degree of the scale and in any key is next in importance to the tonic. Similarly the chord of the dominant is next in importance to that of the tonic. The strongest ending is offered by the authentic or perfect cadence, the progression from the chord of the dominant to that of the tonic, V - I. This is often conventionally approached from the chord of the subdominant, making the progression IV - V - I.

4. 基本和声进行/Fundamental harmonic progression

Fundamental harmonic progression is the ordering of chords in succession to each other according to their roots, not necessarily the bass. In this respect tonic moves most easily to dominant or subdominant, rather less easily to supertonic or mediant; I to V or IV, perhaps I to II or III. Flags have long been added to stems to indicate further divisions of duration. Thus a stem with two flags, so called from their appearance, indicates a 16th note or semiquaver, a note of half the duration of a stem with one flag, an 8th note or quaver, and so on. Dominant moves to tonic, or sometimes to subdominant or submediant, rather less easily to supertonic or mediant; V - I, sometimes V - IV or V - VI, perhaps V - II or V - III. Subdominant moves to dominant, sometimes to tonic or supertonic, less commonly to mediant or submediant; IV - V, sometimes IV - I or IV - II, less commonly IV - III or IV - VI. Submediant moves to supertonic or dominant, sometimes to mediant or subdominant, less commonly to tonic; VI - II or VI - V, sometimes VI - III or VI - IV, less commonly VI - I. Supertonic moves to dominant, sometimes to subdominant or submediant, less commonly to tonic or mediant; II - V, sometimes II - IV or II - III, less commonly II - I or II - III. Mediant moves to submediant, sometimes to subdominant, less commonly to tonic, supertonic or dominant; III - VI, sometimes III - IV, less commonly III - I, III - II or III - V. Leading tone moves to mediant, sometimes to tonic; VII - III, sometimes VII - I.

5. 协和和弦/Consonant chord

Major triads and minor triads are traditionally regarded as consonant chords.

6. 不协和和弦/Dissonant chords

　　减三和弦和增三和弦传统上被看作不协和和弦。

Diminished triads and augmented triads are traditionally regarded as dissonant chords.

7. 不完全七和弦/Incomplete V7

Major triads and minor triads may omit the fifth. Similarly the fifth may be omitted in a dominant seventh chord. In the key of C major this would give a chord of G-B-F, of which the root G could be doubled, but neither of the other two notes in the chord can be doubled.

8. 导音/Leading tone Leading note)

The leading tone (leading note), the seventh degree of the scale, leads naturally to the tonic and is generally so treated, although there are many examples of the leading tone falling rather than rising in an authentic or perfect cadence, V - I. The triad on the leading tone, a diminished triad, seldom occurs in root position, but is found often enough in first inversion or second inversion.

Passing tones or passing notes are used to fill a gap between two notes. Thus the interval G - E may be filled by the passing tone F, to give G-F-E. Such passing tones (passing notes) occur on weak beats. The seventh chord may also have this function, particularly the second inversion of the dominant seventh, which may be used as a passing chord between the first inversion of the tonic chord and the same chord in root position; I6 - V4 - I. This gives a bass line descending by 3 step, mediant - supertonic - tonic. In C major the bass line would, then, be E - D - C.

10. 解决/Resolution

There is a tendency for dissonances to resolve. Such resolution is generally achieved by the movement of a voice to the nearest consonant interval. Such resolution should be by step and the dissonant note should, therefore, never be doubled. The dissonant interval of the tritone, the diminished fifth, or, in inversion the augmented fourth, for example, is found in the dominant seventh chord, between the leading tone (leading note) and the subdominant, the fourth and seventh degrees of the scale. The leading tone (leading note) resolves by rising to the tonic, while the subdominant resolves by descending to the mediant. In C major the tritone B - F in the dominant seventh chord resolves to C - E; B rises to C, F descends to E, each moving a half step.

11. 级进/Stepwise motion

Stepwise motion, movement by step or conjunct motion, should be generally preferred to too much disjunct motion, movement by leap. There should be a careful mixture of both in the upper, soprano voice and rather more conjunct motion in the inner parts. Leaps are rather more common in the bass.

12. Tendency tone

13. 数字低音记号/Figured bass symbol

While in harmonic analysis chords may be indicated by Roman numerals, a figured bass indicates the quality of a chord and its position by the use of Arabic numerals and certain other symbols, placed below the bass line. The Arabic numerals indicate the intervals that should appear in a chord above the bass. Traditionally keyboard parts or the parts written for other chordal instruments in accompaniment might consist of a bass part with the intended harmonies indicated by Arabic numerals and other symbols. Generally it has been found unnecessary to use figuration for a tonic chord in root position, which, if expressed would be 53.In first inversion the tonic chord might have the numbers 63 although the 3 might be omitted.In second inversion the tonic chord would have the numbers 64.Other intervals might be indicated in the same way. Thus a seventh chord might be indicated simply by the number 7. Its first inversion would be 65. The second inversion would be 43 and the third inversion 42. Intervals may be modified by the addition of signs for sharps, flats or naturals by the side of numerals. Where no numeral is used such a sign refers to the third of the chord.