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I–IV–V–I
In music, I–IV–V–I or IV–V–I is a chord progression and cadence that, "unequivocally defines the point of origin and the total system, the key." Jonas, Oswald (1982). ''Introduction to the Theory of Heinrich Schenker'' (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''), p. 23. Trans. John Rothgeb. . Composers often begin pieces with this progression as an exposition of the tonality: According to theorist Oswald Jonas, " ong with motion toward the fifth (V), IV he subdominantappears as a corrective, depriving V (the dominant (music)">dominant) of its independence and pointing it back in the direction of its origin [I]." In the key of C, IV provides the note F and eliminates the possibility of G major, which requires F. The progression is also often used at the end of works and sections. See also *Predominant chord *Three-chord song *V–IV–I turnaround *ii–V–I progression *Ragtime progression Ragtime, also s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonality
Tonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality. In this hierarchy, the single pitch or triadic chord with the greatest stability is called the tonic. The root of the tonic chord forms the name given to the key, so in the key of C major, the note C is both the tonic of the scale and the root of the tonic chord (which is C–E–G). Simple folk music songs often start and end with the tonic note. The most common use of the term "is to designate the arrangement of musical phenomena around a referential tonic in European music from about 1600 to about 1910". Contemporary classical music from 1910 to the 2000s may practice or avoid any sort of tonality—but harmony in almost all Western popular music remains tonal. Harmony in jazz includes many but not all tonal characteristics of the European common practice period, usually known as "classical music". "All harmonic idi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Authentic Cadence
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conclusion (music)
In music, the conclusion is the ending of a composition and may take the form of a coda or outro. Pieces using sonata form typically use the recapitulation to conclude a piece, providing closure through the repetition of thematic material from the exposition in the tonic key. In all musical forms other techniques include "altogether unexpected digressions just as a work is drawing to its close, followed by a return...to a consequently more emphatic confirmation of the structural relations implied in the body of the work." Perle, George (1990). ''The Listening Composer''. California: University of California Press. . For example: * The slow movement of Bach's '' Brandenburg Concerto No. 2'', where a "diminished-7th chord progression interrupts the final cadence." * The slow movement of Symphony No. 5 by Beethoven, where, "echoing afterthoughts", follow the initial statements of the first theme and only return expanded in the coda. * Varèse's '' Density 21.5'', where part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragtime Progression
Ragtime, also spelled rag-time or rag time, is a musical style that flourished from the 1890s to 1910s. Its cardinal trait is its syncopated or "ragged" rhythm. Ragtime was popularized during the early 20th century by composers such as Scott Joplin, James Scott and Joseph Lamb. Ragtime pieces (often called "rags") are typically composed for and performed on piano, though the genre has been adapted for a variety of instruments and styles. "Maple Leaf Rag", "The Entertainer", "Fig Leaf Rag", " Frog Legs Rag", and " Sensation Rag" are among the most popular songs of the genre. The genre emerged from African American communities in the Southern and Midwestern United States, evolving from folk and minstrel styles and popular dances such as the cakewalk and combining with elements of classical and march music. Ragtime significantly influenced the development of jazz. In the 1960's, the genre had began to be revived with the publication '' The All Played Ragtime'' and artists recre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ii–V–I Progression
The ii–V–I progression ("two–five–one progression") (occasionally referred to as ii–V–I turnaround, and ii–V–I) is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. It is a succession of chords whose roots descend in fifths from the second degree (supertonic) to the fifth degree ( dominant), and finally to the tonic. In a major key, the supertonic triad (ii) is minor, and in a minor key it is diminished. The dominant is, in its normal form, a major triad and commonly a dominant seventh chord. With the addition of chord alterations, substitutions, and extensions, limitless variations exist on this simple formula. The ii–V–I progression is "a staple of virtually every type of esternpopular music", including jazz, R&B, pop, rock, and country.Workman, Josh. "Chops: II–V–I Survival Tips", ''Guitar Player'' 37:4 (April 2003), p. 90. Examples include " Honeysuckle Rose" (1928), which, "features several bars ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
V–IV–I Turnaround
In music, the V–IV–I turnaround, or blues turnaround, is one of several cadential patterns traditionally found in the twelve-bar blues, and commonly found in rock and roll. The cadence moves from the tonic to dominant, to subdominant, and back to the tonic. "In a blues in A, the turnaround will consist of the chords E7, D7, A7, E7 –IV–I–V" V may be used in the last measure rather than I since, "nearly all blues tunes have more than one chorus (occurrence of the 12-bar progression), the turnaround (last four bars) usually ends on V, which makes us feel like we need to hear I again, thus bringing us around to the top (beginning) of the form again.". History "It seems likely that the blues turnaround evolved from ragtime-type music", the earliest example being I–I7–IV–iv–I (in C: C–C7–F–Fm–C), "The Japanese Grand March".Baker, Duck (2004). ''Duck Baker's Fingerstyle Blues Guitar 101'', p.17. . This is a plagal cadence featuring a dominant seventh tonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Three-chord Song
A three-chord song is a song whose music is built around three chords that are played in a certain sequence. A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V7 chord is used instead of V, for greater tension. The I ( tonic), IV ( subdominant) and V ( dominant) chords (primary triads) together encompass all seven tones of the tonic's major scale. These three chords are a simple means of covering many melodies without the use of passing notes. The order of the chord progression may be varied; popular chord progression variations using the I, IV and V chords of a scale are: * V – I – IV * I – V – IV – V * V – IV – I Beside the I, IV and V chord progression, other widely used 3-chord progressions are: * I – vi – V * I � ... [...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 the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scarlatti - Sonata In D Minor, K
Scarlatti is an Italian surname. Notable people with this surname include: *Scarlatti family of 17th- and 18th-century Italy, which includes: ** Alessandro Scarlatti (1660–1725), Baroque composer known for operas and chamber cantatas, father of Domenico Scarlatti **Francesco Scarlatti (1666–1741), Baroque composer and musician, brother of Alessandro Scarlatti **Domenico Scarlatti (1685–1757), Baroque composer, influential in the development of keyboard music, son of Alessandro Scarlatti **Giuseppe Scarlatti (1718/1723–1777), Baroque composer, nephew of Alessandro or Domenico **Pietro Filippo Scarlatti (1679–1750), Baroque composer, organist and choirmaster, son of Alessandro Scarlatti **Rosa Scarlatti (1727–1775), Italian opera singer, niece of Alessandro or Domenico *Giorgio Scarlatti (1921–1990), Italian Formula One driver See also *''The Scarlatti Inheritance'', novel by Robert Ludlum * 6480 Scarlatti, asteroid * Scarlatti (crater), impact crater on Mercury * Scarl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach - WTC II, Prelude In C Major
Johann Sebastian Bach (28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the '' Brandenburg Concertos''; instrumental compositions such as the Cello Suites; keyboard works such as the ''Goldberg Variations'' and ''The Well-Tempered Clavier''; organ works such as the '' Schubler Chorales'' and the Toccata and Fugue in D minor; and vocal music such as the ''St Matthew Passion'' and the Mass in B minor. Since the 19th-century Bach revival he has been generally regarded as one of the greatest composers in the history of Western music. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at the age of 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical education in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant chu ... [...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 chord ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four-part Harmony
The term "four-part harmony" refers to music written for four voices, or for some other musical medium—four musical instruments or a single keyboard instrument, for example—for which the various musical parts can give a different note for each chord of the music. The four main voices are typically labelled as soprano (or treble and countertenor), alto ( contralto, countertenor or mezzo), tenor, and bass. Because the human voice has a limited range, different voice types are usually not able to sing pitches that lie outside of their specific range. The effort required to perform four-part harmony varies greatly. Pieces written in such a style can be usually executed by a single keyboard player, a group of 4 instruments (or singers), or even a large choir with multiple singers per part. In European classical music In the baroque era, a set of rules developed for voice leading in four-part harmony. In these rules, the bass voice would be assigned the root of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
