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ÇÑ/¿µ(µ¶•ºÒ•ÀÌ) À½¾Ç¿ë¾î ¸ñ·Ï |
ȼº¹ý (Harmony) |
ÀÛ¼º : ¹Ú Àç ¼º |
l
¿ë¾î¸¦ °Ë»öÇÒ ¼ö ÀÖ½À´Ï´Ù.
l
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F¸¦ ´©¸¥ ÈÄ, °Ë»öÇÒ ´Ü¾î(ÇÑ±Û È¤Àº ¿µ¾î)¸¦ ÀÔ·ÂÇÏ½Ã¸é µË´Ï´Ù.
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¿µ¾î¿ë¾î |
Çѱ۹ø¿ª¿ë¾î |
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A |
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accented chromatic
passing tone |
¹ÝÀ½°èÀû °¹Ú°æ°úÀ½ |
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accented neighboring |
°¹Úº¸Á¶À½ |
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accented non-harmonic
tone |
°¹ÚºñȼºÀ½ |
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accented passing tone |
°¹Ú°æ°úÀ½ |
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accidental |
ÀӽñâÈ£ |
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added sixth (tone) |
ºÎ°¡6µµ (= ºÎ°¡6µµÀ½) |
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added sixth chord |
ºÎ°¡6ÈÀ½ |
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added tone |
ºÎ°¡À½ |
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added tone harmony |
ºÎ°¡È¼º |
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Alberti bass |
¾Ëº£¸£Æ¼ º£À̽º |
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altered chord |
º¯ÈÈÀ½ |
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Á¤ÀÇ : ¿ÂÀ½°èÀû ÈÀ½ÀÇ ±¸¼ºÀ½µé Áß
ÇÑ °³ ȤÀº ±× ÀÌ»óÀÇ À½ÀÌ ¹ÝÀ½°èÀû º¸Á¶À½À¸·Î ¹Ù²ï ÈÀ½.
"º¯ÈÈÀ½"Àº
<¹ÝÀ½°èÀû ÈÀ½>(chromatic
chord)°ú µ¿ÀÏÇÑ Àǹ̸¦ °¡ÁöÁö¸¸, ¹ÝÀ½°èÀû ÈÀ½º¸´Ù ÇÑÁ¤µÈ ¹üÀ§¸¦ °¡Áø´Ù. ÀϹÝÀûÀ¸·Î ÀÏÄþîÁö´Â º¯ÈÈÀ½ÀÇ Á¾·ù¿¡´Â (1) Àå´ÜÁ¶È¥¿ëÈÀ½(chord of mode mixture), (2) Áõ6ÈÀ½(ÀÌŸ®6ÈÀ½, µ¶ÀÏ6ÈÀ½, ÇÁ¶û½º6ÈÀ½), (3) ³ªÆú¸®6ÈÀ½
µîÀÌ ÀÖ´Ù. |
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anticipation |
¼±ÇàÀ½ |
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apparent chord (=
linear chord) |
¿ÜÇüÈÀ½ (= ¼±ÀûÈÀ½) |
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• Edward Aldwell/Carl Schachter, Harmony
and Voice Leading, 3rd edition (New York: Schirmer,
2003) : ÀÌ
ÈÀ½À» "apparent chord"¶ó°í ºÎ¸£°í ÀÖ´Ù. • William Toutant, Functional Harmony, Volume 2
(Belmont, CA: Wadsworth Publishing Company, 1985): ÀÌ ÈÀ½À» "ºñµþ¸²°¨7ÈÀ½"(nondominant diminished seventh chord)À̶ó°í
ºÎ¸£°í ÀÖ´Ù. Toutant´Â "°æ°úÀû |
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apparent seventh chord |
¿ÜÇü7ÈÀ½ |
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Á¤ÀÇ : 7ÈÀ½ÀÇ ÇüÅ·Π»ç¿ëµÈ ¿ÜÇüÈÀ½. ¿ÜÇüÈÀ½Àº 7ÈÀ½ ÇüÅ·Π»ç¿ëµÇ´Â °æ¿ì°¡ ´ëºÎºÐÀ̱⠶§¹®¿¡
"¿ÜÇü7ÈÀ½"À̶õ ¿ë¾î´Â
»ç½Ç»ó À¯¸í¹«½ÇÇÏ´Ù. |
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applied chord |
ÀÀ¿ëÈÀ½ |
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appoggiatura |
ÀüŸÀ½ |
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appoggiatura six-four
chord |
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arpeggio |
¾Æ¸£ÆäÁö¿À |
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articulation |
¾ÆÆ¼Å§·¹ÀÌ¼Ç |
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augmented dominant |
Áõµþ¸²ÈÀ½ |
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augmented sixth chord |
Áõ6ÈÀ½ |
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authentic cadence |
Á´°ÝÁ¾Áö |
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auxiliary (tone) |
º¸Á¶À½ |
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auxiliary six-four
chord |
º¸Á¶Àû |
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B |
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bass pedal |
º£À̽ºÁö¼ÓÀ½ |
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bitonality |
2ÁßÁ¶¼º |
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block chord |
¼öÁ÷ÈÀ½ |
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borrowed chord |
Â÷¿ëÇÏÀ½ |
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broken chord |
ºÐ»êÈÀ½ |
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C |
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cadence |
Á¾Áö, Á¾Áö¹ý |
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cadential extension |
Á¾ÁöÀû ¿¬Àå |
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cadential six-four chord |
Á¾ÁöÀû |
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caesura |
ÈÞ½ÄÁ¡ |
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changing tones |
»óÇϺ¸Á¶À½ |
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chord |
ÈÀ½ |
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chord member |
ÈÀ½±¸¼ºÀ½ |
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chord of omission |
»ý·«ÈÀ½ Á¤ÀÇ : Á¦3À½À» »ý·«ÇÑ ÈÀ½. |
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chord succession |
ÈÀ½¿¬¼Ó |
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chordal mutation |
ÈÀ½º¯ÀÌ |
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chromatic interval |
¹ÝÀ½°èÀû À½Á¤ |
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chromatic modulation |
¹ÝÀ½°èÀû ÀüÁ¶(Á¶¹Ù²Þ) |
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chromatic neighboring tone |
¹ÝÀ½°èÀû º¸Á¶À½ |
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chromatic nonharmonic tone |
¹ÝÀ½°èÀû ºñȼºÀ½ |
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chromatic passing tone |
¹ÝÀ½°èÀû °æ°úÀ½ |
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chromatic scale |
¹ÝÀ½°è |
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chromatic semitone |
¹ÝÀ½°èÀû ¹ÝÀ½ |
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chromatic sequence |
¹ÝÀ½°èÀû µ¿ÇüÁøÇà |
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chromatic skip |
¹ÝÀ½°èÀû µµ¾àÁøÇà |
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chromaticism |
¹ÝÀ½°èÁÖÀÇ |
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D |
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E |
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F |
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G |
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H |
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I |
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J |
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K |
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L |
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M |
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N |
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O |
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P |
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Q |
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R |
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roving harmony |
À̵¿È¼º |
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S |
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T |
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U |
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V |
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W |
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X |
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Y |
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Z |
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