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Tonicization
In music, tonicization is the treatment of a pitch other than the overall tonic (the "home note" of a piece) as a temporary tonic in a composition. In Western music that is tonal, the piece is heard by the listener as being in a certain key. A tonic chord has a dominant chord; in the key of C major, the tonic chord is C major and the dominant chord is G major or G dominant seventh. The dominant chord, especially if it is a dominant seventh, is heard by Western composers and listeners familiar with music as resolving (or "leading") to the tonic, due to the use of the leading note in the dominant chord. A tonicized chord is a chord other than the tonic chord to which a dominant or dominant seventh chord progresses. When a dominant chord or dominant seventh chord is used before a chord other than the tonic, this dominant or dominant seventh chord is called a secondary dominant. When a chord is tonicized, this makes this non-tonic chord sound temporarily like a tonic chord. Example ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Secondary Dominant
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization. Secondary chords are a type of altered or borrowed chord, chords that are not part of the music piece's key. They are the most common sort of altered chord in tonal music. Secondary chords are referred to by the function they have and the key or chord in which they function. Conventionally, they are written with the notation "''function''/''key''". Thus, the most common secondary chord, the dominant of the dominant, is written "V/V" and read as "five of five" or "the dominant of the dominant". The major or minor triad on any diatonic scale degree may have any secondary function applied to it; secondary functions may even be applied to diminished triads in some special circumstances. Secondary chords were not used until the Baroque period and are found more freque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Secondary Leading-tone Chord
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization. Secondary chords are a type of altered or borrowed chord, chords that are not part of the music piece's key. They are the most common sort of altered chord in tonal music. Secondary chords are referred to by the function they have and the key or chord in which they function. Conventionally, they are written with the notation "''function''/''key''". Thus, the most common secondary chord, the dominant of the dominant, is written "V/V" and read as "five of five" or "the dominant of the dominant". The major or minor triad on any diatonic scale degree may have any secondary function applied to it; secondary functions may even be applied to diminished triads in some special circumstances. Secondary chords were not used until the Baroque period and are found more frequen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modulation (music)
In music, modulation is the change from one tonality ( tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change). Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization. Requirements * Harmonic: quasi- tonic, modulating dominant, pivot chordForte (1979), p. 267. *Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-tone *Metric and rhythmic: quasi-tonic and modulating dominant on metrically accented beats, prominent pivot chord The quasi-tonic is the tonic of the new key established by the modulation was semi. The modulating dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V–V/V– ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Chord
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: typi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading Note
In music theory, a leading-tone (also called a subsemitone, and a leading-note in the UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. Typically, ''the'' leading tone refers to the seventh scale degree of a major scale (), a major seventh above the tonic. In the movable do solfège system, the leading-tone is sung as ''ti''. A leading-tone triad is a triad (music), triad built on the seventh scale degree in a major key (vii in Roman numeral analysis), while a leading-tone seventh chord is a seventh chord built on the seventh scale degree (vii7). Walter Piston considers and notates vii as V, an incomplete dominant seventh chord. (For the Roman numeral notation of these chords, see Roman numeral analysis.) Note Seventh scale degree (or lower leading tone) Typically, when people speak of ''the'' leading tone, they mean the seventh scale degree () of the major scale, which has a stron ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Triad
In music theory, a diminished triad (also known as the minor flatted fifth) is a triad consisting of two minor thirds above the root. It is a minor triad with a lowered ( flattened) fifth. When using chord symbols, it may be indicated by the symbols "dim", "", "m5", or "MI(5)". However, in most popular-music chord books, the symbol "dim" and "" represents a diminished seventh chord (a four-tone chord), which in some modern jazz books and music theory books is represented by the "dim7" or "7" symbols. For example, the diminished triad built on C, written as C, has pitches C–E–G: : The chord can be represented by the integer notation . In the common practice period, the diminished triad is considered dissonant because of the diminished fifth (or tritone). Harmonic function In major scales, a diminished triad occurs only on the seventh scale degree. For instance, in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Gauldin
Robert Luther Gauldin, Jr. (born 1931) is an American composer. He is Professor Emeritus of Music Theory at the Eastman School of Music. Career Robert Gauldin was born to Robert Luther Gauldin (1905–1959) and Lula Mae Self (1905–1977). He graduated in 1949 from Vernon High School, Vernon, Texas. During his senior year, he was Vice President of the Honor Society and, as clarinetist, President of the Band. In the 1949 Vernon High School Yearbook, he was labeled "the BEBOP man." Gauldin, in 1952, earned a Bachelor of Music degree in Composition, with High Honors, from the University of North Texas College of Music. He went on to study at the Eastman School of Music where, in 1956, he earned a Master of Music degree in Music Theory, and in 1959, a PhD in Music Theory. From 1959 to 1963 he served as professor of theory at William Carey College. For the next thirty-four years – from 1963 to 1997 – he was a professor at Eastman School of Music. Compositions *''Movement for Wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kostka, Stefan
Stefan M. Kostka (born 1939) is an American music theorist, author, and Professor Emeritus of music theory at the University of Texas at Austin. Education Kostka graduated from the University of Colorado with a Bachelor's Degree, and then received a graduate degree at the University of Texas, studying under Kent Kennan before receiving a PhD in music theory from the University of Wisconsin. Career He was a member of the faculty of the Eastman School of Music from 1969 to 1973, and since that time has been on the faculty at the University Texas at Austin. Kostka initiated courses in computer applications in music at both the Eastman School and the University of Texas. Later, he specialized in courses in atonal theory and contemporary styles and techniques. Selected publications Books * ''The Hindemith String Quartets: A Computer-Assisted Study of Selected Aspects of Style'', Doctoral dissertation, University of Wisconsin–Madison, 1969 * ''A Bibliography of Computer Applications ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Classical Music
Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" also applies to non-Western art music. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony. Since at least the ninth century it has been primarily a written tradition, spawning a sophisticated notational system, as well as accompanying literature in analytical, critical, historiographical, musicological and philosophical practices. A foundational component of Western Culture, classical music is frequently seen from the perspective of individual or groups of composers, whose compositions, personalities and beliefs have fundamentally shaped its history. Rooted in the patronage of churches and royal courts in Western Europe, surviving earl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented Chord
Augment or augmentation may refer to: Language *Augment (Indo-European), a syllable added to the beginning of the word in certain Indo-European languages *Augment (Bantu languages), a morpheme that is prefixed to the noun class prefix of nouns in certain Bantu languages *Augment, a name sometimes given to the verbal ''ō-'' prefix in Nahuatl grammar Technology *Augmentation (obstetrics), the process by which the first and/or second stages of an already established labour is accelerated or potentiated by deliberate and artificial means *Augmentation (pharmacology), the combination of two or more drugs to achieve better treatment results *Augmented reality, a live view of a physical, real-world environment whose elements are ''augmented'' by computer-generated sensory input *Augmented cognition, a research field that aims at creating revolutionary human-computer interactions *Augment (Tymshare), a hypertext system derived from Douglas Engelbart's oN-Line System, renamed "Augment" b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
V Of V In C Four-part Harmony
V, or v, is the twenty-second and fifth-to-last letter in the Latin alphabet, used in the modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is ''vee'' (pronounced ), plural ''vees''. History The letter V ultimately comes from the Phoenician letter ''waw'' by way of U. See U for details. During the Late Middle Ages, two minuscule glyphs of U developed which were both used for sounds including and modern . The pointed form "v" was written at the beginning of a word, while a rounded form "u" was used in the middle or end, regardless of sound. So whereas "valour" and "excuse" appeared as in modern printing, "have" and "upon" were printed as "haue" and "vpon". The first distinction between the letters "u" and "v" is recorded in a Gothic script from 1386, where "v" preceded "u". By the mid-16th century, the "v" form was used to represent the consonant and "u" the vowel sound, giving us the modern letter V. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roman Numeral Chord Analysis
In music theory, Roman numeral analysis is a type of musical analysis in which chords are represented by Roman numerals (I, II, III, IV, …). In some cases, Roman numerals denote scale degrees themselves. More commonly, however, they represent the chord whose root note is that scale degree. For instance, III denotes either the third scale degree or, more commonly, the chord built on it. Typically, uppercase Roman numerals (such as I, IV, V) are used to represent major chords, while lowercase Roman numerals (such as ii, iii, vi) are used to represent minor chords (see Major and Minor below for alternative notations). However, some music theorists use upper-case Roman numerals for all chords, regardless of chord quality.Roger Sessions (1951). ''Harmonic Practice''. New York: Harcourt, Brace. . p. 7. In Western classical music in the 2000s, some music students and theorists use Roman numeral analysis to analyze the harmony of a composition. In pop, rock, traditional music, and jazz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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