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Diminished Triad
In music theory, a diminished triad is a triad (music), triad consisting of two minor thirds above the root (chord), root. It is a Minor chord, minor triad with a lowered (flat (music), flattened) Fifth (chord), fifth. When using Chord names and symbols (popular music), chord symbols, it may be indicated by the symbols "dim", "", "m5", or "MI(5)". However, in most popular-music chord books, the symbol "dim" or "" 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 B, written as B, has pitches B-D-F: : The chord can be represented by the Pitch class#Integer notation, integer notation . In the common practice period, the diminished triad is considered Consonance and dissonance, dissonant because of the Tritone, diminished fifth (or tritone). Harmonic function In Major scale, major scales, a diminished triad occurs only on the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root (chord)
In the music theory of harmony, the root is a specific Note (music), note that names and typifies a given chord (music), chord. Chords are often spoken about in terms of their root, their Chord quality, quality, and their Chord extensions, extensions. When a chord is named without reference to quality, it is assumed to be major chord, major—for example, a "C chord" refers to a C major triad, containing the notes C, E, and G. In a given harmonic context, the root of a chord need not be in bass note, the bass position, as chords may be Inversion (music), inverted while retaining the same name, and therefore the same root. In tertian harmonic theory, wherein chords can be considered stacks of third intervals (e.g. in common practice period, common practice tonality), the root of a chord is the Musical note, note on which the subsequent thirds are stacked. For instance, the root of a triad (music), triad such as E Minor is E, independently of the vertical order in which the three n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Sebastian Bach
Johann Sebastian Bach (German: Help:IPA/Standard German, [ˈjoːhan zeˈbasti̯an baχ]) ( – 28 July 1750) was a German composer and musician of the late Baroque music, Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral ''Brandenburg Concertos''; solo instrumental works such as the Cello Suites (Bach), cello suites and Sonatas and Partitas for Solo Violin (Bach), sonatas and partitas for solo violin; keyboard works such as the ''Goldberg Variations'' and ''The Well-Tempered Clavier''; organ works such as the ' and the Toccata and Fugue in D minor, BWV 565, Toccata and Fugue in D minor; and choral works such as the ''St Matthew Passion'' and the Mass in B minor. Since the 19th-century Reception of Johann Sebastian Bach's music, Bach Revival, he has been widely regarded as one of the greatest composers in the history of Western music. The Bach family had already produced several composers when Joh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ascending Melodic Minor Scale
The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz, although it may be found in other types of music as well. It may be derived from the major scale with a minor third, making it a synthetic scale, and features a dominant seventh chord on the fifth degree (V) like the harmonic minor scale. It can also be derived from the diatonic Dorian mode with a major seventh. : Thus, the jazz minor scale can be represented by the following notation: :1, 2, 3, 4, 5, 6, 7, 8 The intervals between the notes of the jazz minor scale follow the sequence below: : whole, half, whole, whole, whole, whole, half Jazz theory The scale may be considered to originate in the use of extensions beginning with the seventh in jazz and thus the necessity to, "chromatically raise the diatonic 7th to create a stable, tonic sound," rather than use a minor seve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Predominant Chord
In music theory, a predominant chord (also pre-dominant) is any chord which normally resolves to a dominant chord.Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', Glossary, p.359. Eighth Edition. . "Any chord in functional harmony that normally resolves to the dominant chord." Examples of predominant chords are the subdominant (IV, iv), supertonic (ii, ii°), Neapolitan sixth and German sixth. Other examples are the secondary dominant (V/V) and secondary leading tone chord. Predominant chords may lead to secondary dominants. Predominant chords both expand away from the tonic ''and'' lead to the dominant, affirming the dominant's pull to the tonic.Cleland, Kent D. and Dobrea-Grindahl, Mary (2013). ''Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training'', p.255. Routledge. . Thus they lack the stability of the tonic and the drive towards resolution of the dominant. The predominant harmonic function is part of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Supertonic
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," 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 chord that resolves to a chord wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natural Minor Scale
In Western classical music theory, the minor scale refers to three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending). These scales contain all three notes of a minor triad: the root, a minor third (rather than the major third, as in a major triad or major scale), and a perfect fifth (rather than the diminished fifth, as in a diminished scale or half diminished scale). Minor scale is also used to refer to other scales with this property, such as the Dorian mode or the minor pentatonic scale (see other minor scales below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth degree of its relative major scale. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: : Because of this, the key of A minor is called the ''relativ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prolongation
In music theory, prolongation is the process in tonality, tonal music through which a pitch (music), pitch, interval (music), interval, or triad (music), consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the musical analysis, music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's ''Auskomponierung'' (better translated as "composing out" or "elaboration"). According to Fred Lerdahl, "The term 'prolongation' [...] usually means 'composing out' (Schenker's own intention for the term is open to debate)." Prolongation can be thought of as a way of generating musical content through the linear elaboration of simple and basic tonal structures with progressively increasing detail and sophistication,William Drabkin. "Prolongation." Grove Music Online. Oxford Music Online. 2 Aug. 2011 . and thus analysis consists of a reduction from de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Seventh Chord
Domination or dominant may refer to: Society * World domination, structure where one dominant power governs the planet * 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 Music * Dominant (music), a diatonic scale step and diatonic function in tonal music theory Albums * ''Domination'' (Cannonball Adderley album) or the title track, 1965 * ''Domination'' (Morbid Angel album), 1995 * ''Domination'', by Domino, 2004 * ''Domination'', by Morifade, 2004 Songs * "Domination" (song), by Pantera, 1990 * "Domination", by Band-Maid from ''World Domination'', 2018 * "Domination", by Symphony X from ''Paradise Lost'', 2007 * "Domination", by Way Out West from '' Way Out West'', 1996 * "Domination", by Within t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Function
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: ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading-tone
In music theory, a leading tone (also called subsemitone or 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, 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 ''si''. A leading-tone triad is a 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 strong affinity for and leads ... [...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 are usually 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 p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
