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Supertonic Chord
In music, the supertonic is the second degree () of a diatonic scale, one whole step above the tonic. In the movable do solfège system, the supertonic note is sung as ''re''. The triad built on the supertonic note is called the supertonic chord. In Roman numeral analysis, the supertonic chord is typically symbolized by the Roman numeral "ii" in a major key, indicating that the chord is a minor chord (in C: D–F–A). In a minor key, it is indicated by "ii" if it is built on the a natural minor scale, indicating that the chord is a diminished chord (in C: D–F–A). Because it is a diminished chord, it usually appears in first inversion (iio6) so that no note dissonates with the bass note. These chords may also appear as seventh chords: in major, as ii7 (in C: D–F–A–C), while in minor as ii7 (in C: D–F–A–C) or rarely ii7. They are the second-most-common form of nondominant seventh chords. The supertonic chord normally functions as a predominant chord, a c ... [...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] |
Parallel And Counter Parallel
Parallel and counter parallel chords are terms derived from the German (''Parallelklang'', ''Gegenparallelklang'') to denote what is more often called in English the "relative", and possibly the "counter relative" chords. In Hugo Riemann's theory, and in German theory more generally, these chords share the function of the chord to which they link: subdominant parallel, dominant parallel, and tonic parallel.Haunschild, Frank (2000). ''The New Harmony Book'', p.47. . Riemann defines the relation in terms of the movement of one single note: For example, the major and and minor and . :The tonic, subdominant, and dominant chords, in root position, each followed by its parallel. The parallel is formed by raising the fifth a whole tone. :The minor tonic, subdominant, dominant, and their parallels, created by lowering the fifth (German)/root (US) a whole tone. The parallel chord (but ''not'' the counter parallel chord) of a major chord will always be the minor cho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Riemannian Theory
"Riemannian theory" in general refers to the musical theories of German theorist Hugo Riemann (1849–1919). His theoretical writings cover many topics, including musical logic, notation, harmony, melody, phraseology, the history of music theory,''Geschichte der Musiktheorie im IX.-XIX. Jahrhundert'', Berlin, 1898. etc. More particularly, the term ''Riemannian theory'' often refers to his theory of harmony, characterized mainly by its dualism and by a concept of harmonic functions. Dualism Riemann's "dualist" system for relating triads was adapted from earlier 19th-century harmonic theorists. The term "dualism" refers to the emphasis on the inversional relationship between major and minor, with minor triads being considered "upside down" versions of major triads; this "harmonic dualism" (harmonic polarity) is what produces the change-in-direction described above. See also the related term Utonality.Klumpenhouwer, Henry, ''Some Remarks on the Use of Riemann Transformations,'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Enharmonic Equivalence
In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. The enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. The term is derived from Latin ''enharmonicus'', from Late Latin ''enarmonius'', from Ancient Greek ἐναρμόνιος (''enarmónios''), from ἐν (''en'') and ἁρμονία (''harmonía''). Definition For example, in any twelve-tone equal temperament (the predominant system of musical tuning in Western music), the notes C and D are ''enharmonic'' (or ''enharmonically equivalent'') notes. Namely, they are the same key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressions. Arbitrary amounts of accidentals can produce further enharmonic equivalents, such as B (mean ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles Herbert Kitson
Charles Herbert Kitson (13 November 1874 – 13 May 1944) was an English organist, teacher, and music educator, author of several books on harmony and counterpoint. Biography Kitson was born in Leyburn, Yorkshire, and attended school in Ripon. Intending originally to take holy orders, he took his BA (1896) and MA (1904) at Cambridge, where he was organ scholar of Selwyn College. Between those dates, he also took the BMus (1897) and DMus (1902) degrees at Oxford, as an external student. After teaching at Haileybury and St Edmund's School, Canterbury, he became organist of St John the Baptist, Leicester. His first important post was as organist at Christ Church Cathedral in Dublin, in 1913 – a post which he held until 1920 and which he combined with the post of Professor of Theory at the Royal Irish Academy of Music.Houston, Kerry: "Kitson, Charles Herbert", in: ''The Encyclopaedia of Music in Ireland'', ed. Harry White & Barra Boydell (Dublin: UCD Press, 2013), p. 57 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Common-tone Diminished Seventh Chord
The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, 3, 5, 7). For example, the diminished seventh chord built on C, commonly written as C7, has pitches C–E–G–B (A): : As such, a diminished seventh chord comprises a diminished triad plus a diminished seventh. Because of this, it can also be viewed as four notes all stacked in intervals of a minor third and can be represented by the integer notation . Since a diminished seventh interval is enharmonically equivalent to a major sixth, the chord is enharmonically equivalent to (1, 3, 5, 6). The diminished seventh chord occurs as a leading-tone seventh chord in the harmonic minor scale. It typically has dominant function and contains two diminished fifths, which often resolve inwards. In most sheet music books, the notation Cdim or C denotes a diminished seventh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neapolitan Chord
In Classical music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered ( flatted) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode. Although it is sometimes indicated by an "N" rather than a "II", some analysts prefer the latter because it indicates the relation of this chord to the supertonic. The Neapolitan chord does not fall into the categories of mixture or tonicization. Moreover, even Schenkerians like Carl Schachter do not consider this chord as a sign for a shift to the Phrygian mode. Therefore, like the augmented sixth chords it should be assigned to a separate category of chromatic alteration. In European Classical music, the Neapolitan most commonly occurs in first inversion so that it is notated either as II6 or N6 and normally referred to as a Neapolitan sixth chord. In C major or C minor, for exam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Common-tone Diminished Seventh Chord
The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, 3, 5, 7). For example, the diminished seventh chord built on C, commonly written as C7, has pitches C–E–G–B (A): : As such, a diminished seventh chord comprises a diminished triad plus a diminished seventh. Because of this, it can also be viewed as four notes all stacked in intervals of a minor third and can be represented by the integer notation . Since a diminished seventh interval is enharmonically equivalent to a major sixth, the chord is enharmonically equivalent to (1, 3, 5, 6). The diminished seventh chord occurs as a leading-tone seventh chord in the harmonic minor scale. It typically has dominant function and contains two diminished fifths, which often resolve inwards. In most sheet music books, the notation Cdim or C denotes a diminished seventh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Circle Of Fifths
In music theory, the circle of fifths is a way of organizing the 12 chromatic pitches as a sequence of perfect fifths. (This is strictly true in the standard 12-tone equal temperament system — using a different system requires one interval of diminished sixth to be treated as a fifth). If C is chosen as a starting point, the sequence is: C, G, D, A, E, B (=C), F (=G), C (=D), A, E, B, F. Continuing the pattern from F returns the sequence to its starting point of C. This order places the most closely related key signatures adjacent to one another. It is usually illustrated in the form of a circle. Definition The circle of fifths organizes pitches in a sequence of perfect fifths, generally shown as a circle with the pitches (and their corresponding keys) in a clockwise progression. Musicians and composers often use the circle of fifths to describe the musical relationships between pitches. Its design is helpful in composing and harmonizing melodies, building chords, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fifth
In music theory, a perfect fifth is the Interval (music), musical interval corresponding to a pair of pitch (music), pitches with a frequency ratio of 3:2, or very nearly so. In classical music from Western culture, a fifth is the interval from the first to the last of five consecutive Musical note, notes in a diatonic scale. The perfect fifth (often abbreviated P5) spans seven semitones, while the Tritone, diminished fifth spans six and the augmented fifth spans eight semitones. For example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C. The perfect fifth may be derived from the Harmonic series (music), harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant (music), dominant note is a perfect fifth above the tonic (music), tonic note. The perfect fifth is more consonance and dissonance, consonant, or stable, than any other interval except the unison and the octave. It occurs above the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
