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Dominant Ninth
In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass. Heinrich Schenker and also Nikolai Rimsky-Korsakov allowed the substitution of the dominant seventh, leading-tone, and leading tone half-diminished seventh chords, rejected the concept of a ninth chord on the basis that only that on the fifth scale degree (V9) was admitted and that inversion was not allowed of the ninth chord. Dominant ninth There is a difference between a major ninth chord and a dominant ninth chord. A dominant ninth is the combination of a dominant chord (with a minor seventh) and a major ninth. A major ninth chord (e.g., Cmaj9), as an extended chord, adds the major seventh along with the ninth to the major triad. Thus, a Cmaj9 consists of C, E, G, B and D. When the symbol "9" is not preceded by the word "major" or "maj" (e.g., C9), the chord is a dominant ninth. That is, the implied seventh chord is a dominant se ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory
Music theory is the study of the practices and possibilities of music. ''The Oxford Companion to Music'' describes three interrelated uses of the term "music theory". The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built." Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. Because of the ever-expanding conception of what constitutes music, a more inclusive definition could be the consideration of any sonic phenomena, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Degree (music)
In music theory, the scale degree is the position of a particular note on a scale relative to the tonic, the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor. In the most general sense, the scale degree is the number given to each step of the scale, usually starting with 1 for tonic. Defining it like this implies that a tonic is specified. For instance, the 7-tone diatonic scale may become the major scale once the proper degree has been chosen as tonic (e.g. the C-major scale C–D–E–F–G–A–B, in which C is the tonic). If the scale has no tonic, the starting degree must be chosen arbitrarily. In set theory, for instance, the 12 degrees of the chromatic scale usually are numbered starting from C=0, the twelve pitch classes being numbered from 0 to 11. In a more specific sense, scale degrees are given names that indicate their particu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
François-Joseph Fétis
François-Joseph Fétis (; 25 March 1784 – 26 March 1871) was a Belgian musicologist, composer, teacher, and one of the most influential music critics of the 19th century. His enormous compilation of biographical data in the ''Biographie universelle des musiciens'' remains an important source of information today. Family Fétis was born in Mons, Hainaut, eldest son of Antoine-Joseph Fetis and Elisabeth Desprets, daughter of a famous chirurgical doctor. He had 9 brothers and sisters. His father was titular organist of the noble chapter of Saint-Waltrude. His grandfather was an organ manufacturer. He was trained as a musician by his father and played at young age on the Choir organ of Saint Waltrude. In October 1806 he married to Adélaïde-Louise-Catherine Robert, daughter of the French politician Pierre-François-Joseph Robert and Louise de Keralio, friend of Robespierre. They had 2 sons : most famous was Édouard Fétis, (1812-1909), his eldest son who helped his father with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive Sound, sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term ''sonance'' has been proposed to encompass or refer indistinctly to the terms ''consonance'' and ''dissonance' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semitone
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale. For example, C is adjacent to C; the interval between them is a semitone. In a 12-note approximately equally divided scale, any interval can be defined in terms of an appropriate number of semitones (e.g. a whole tone or major second is 2 semitones wide, a major third 4 semitones, and a perfect fifth 7 semitones. In music theory, a distinction is made between a diatonic semitone, or minor second (an interval encompassing two different staff positions, e.g. from C to D) and a chromatic semitone or augmented unison (an interval between two notes at the same staff position, e.g. from C to C). These are enharmonically equivalent when twelve-tone equal temperament is used, but are not the same thing in meantone temper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic And Chromatic
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900. These terms may mean different things in different contexts. Very often, ''diatonic'' refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B. In some usages it includes all forms of heptatonic scale that are in common use in Western music (the major, and all forms of the minor). ''Chromatic'' most often refers to structures derived from the twelve-note chromatic scale, which consists of all semitones. Historically, however, it had other senses, referring in Ancient Greek music theory to a particular tuning of the tetrachord, and to a rhythmic notational convention in me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Seventh
In music theory, a dominant seventh chord, or major minor seventh chord, is a seventh chord, usually built on the fifth degree of the major scale, and composed of a root, major third, perfect fifth, and minor seventh. Thus it is a major triad together with a minor seventh, denoted by the letter name of the chord root and a superscript "7". An example is the dominant seventh chord built on G, written as G7, having pitches G–B–D–F: : Dominant seventh chords contain a strong dissonance – a tritone between the chord's third and seventh. Dominant seventh chords are often built on the fifth scale degree (or dominant) of a key. For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7 (shown above). In this chord, F is a minor seventh above G. In Roman numeral analysis, G7 would be represented as V7 in the key of C major. Similarly, this chord also occurs on the seventh degree of any natural ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Seventh (chord)
In music, the seventh factor of a chord is the note or pitch seven scale degrees above the root or tonal center. When the seventh is the bass note, or lowest note, of the expressed chord, the chord is in third inversion . Conventionally, the seventh is fourth in importance to the root, fifth, and third, with third inversion being the third strongest inversion and the seventh variably minor or major. In jazz In jazz chords and theory, and classical music theory, the seventh is what defines a chord as a "seventh chord". Moreover, most triads that appear in lead sheets or fake books can have sevenths added to them, using the performer's discretion and "ear". For example, if a tune is in the key of C, if there is a G chord, the chord-playing performer will usually "voice" this chord as G7. While in a strict classical music context, the notes of a G7 chord would be "G–B–D–F", in jazz, the fifth of the chord is often omitted. The root is also often omitted if playing in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Extended Chord
In music, extended chords are certain chords (built from thirds) or triads with notes ''extended'', or added, beyond the seventh. Ninth, eleventh, and thirteenth chords are extended chords. The thirteenth is the farthest extension diatonically possible as, by that point, all seven tonal degrees are represented within the chord (the next extension, the fifteenth, is the same as the root of the chord). In practice however, extended chords do not typically use all the chord members; when it is not altered, the fifth is often omitted, as are notes between the seventh and the highest note (i.e., the ninth is often omitted in an eleventh chord; the ninth and eleventh are usually omitted in a thirteenth chord), unless they are altered to give a special texture. Chords extended beyond the seventh are rarely seen in the Baroque era, and are used more frequently in the Classical era. The Romantic era saw greatly increased use of extended harmony. Extended harmony prior to the 20th c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant (music)
In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the ''dominant'' because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)". The triad built on the dominant note is called the dominant chord. This chord is said to have dominant function, which means that it creates an instability that requires the tonic for resolution. Dominant triads, seventh chords, and ninth chords typically have dominant function. Leading-tone triads and leading-tone seventh chords may also have dominant function. Dominant chords In music theory, the dominant triad is a major chord, symbolized by the Roman numeral "V" in the major scale. In the natural minor scale, the triad is a minor chord, denoted by "v". However, in a minor key, the seventh scale degree is often raised by a half step ( to ), creating a major chord. These chords may also appear as seventh chords: ty ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Ninth Chord On C 4 Voice
Domination or dominant may refer to: Society * World domination, which is mainly a conspiracy theory * Colonialism in which one group (usually a nation) invades another region for material gain or to eliminate competition * Chauvinism in which a person or group consider themselves to be superior, and thus entitled to use force to dominate others * Sexual dominance involving individuals in a subset of BDSM behaviour * Hierarchy * Patriarchy Music * Dominant (music), a diatonic scale step and diatonic function in tonal music theory * Dominant seventh chord, a four-note chord consisting of a major triad and a minor seventh * ''Domination'' (Cannonball Adderley album), 1965 * ''Domination'' (Domino album), 2004 * ''Domination'' (Morbid Angel album), 1995 * ''Domination'' (Morifade album), 2004 * "Domination", a song by Band-Maid from ''World Domination'' * "Domination", a song by Pantera from ''Cowboys from Hell'' * "Domination", a song by Symphony X from ''Paradise Lost'' * "Do ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ninth Vs Added-ninth Chord
In music, a ninth is a compound interval consisting of an octave plus a second. Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its sonority level is considered less dense. Major ninth A major ninth is a compound musical interval spanning 14 semitones, or an octave plus 2 semitones. If transposed into a single octave, it becomes a major second or minor seventh. The major ninth is somewhat dissonant in sound. Transposition Some common transposing instruments sound a major ninth lower than written. These include the tenor saxophone, the bass clarinet, the baritone/euphonium when written in treble clef, and the trombone when written in treble clef (British brass band music). When baritone/euphonium or trombone parts are written in bass clef or tenor clef they sound as written. Minor ninth A minor ninth (m9 or -9) is a compound musical interval spanning 13 semitones, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
