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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] |
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. In Roman numeral analysis, they are written with the notation "''function''/''key''". Thus, one of the most common secondary chords, 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 peri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Secondary Chords
A secondary chord is an music analysis, analytical label for a specific harmony, harmonic device that is prevalent in the tonality, tonal idiom of Western culture#Music, Western music beginning in the common practice period: the use of Diatonic and chromatic, diatonic Function (music), functions for tonicization. Secondary chords are a type of altered chord, altered or borrowed chord, chords that are not part of the music piece's Key (music), 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. In Roman numeral analysis, they are written with the notation "''function''/''key''". Thus, one of the most common secondary chords, the dominant of the dominant, is written "V/V" and read as "five of five" or "the dominant of the dominant". The Major triad, major or minor triad on any diatonic Degree (music), scale degree may have any secondary function applied to it; seco ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Seventh
In music from Western culture, a seventh is a interval (music), musical interval encompassing seven staff positions (see Interval (music)#Number, Interval number for more details), and the major seventh is one of two commonly occurring sevenths. It is qualified as ''major'' because it is the larger of the two. The major seventh spans eleven semitones, its smaller counterpart being the minor seventh, spanning ten semitones. For example, the interval from C to B is a major seventh, as the note B lies eleven semitones above C, and there are seven staff positions from C to B. Diminished seventh, Diminished and Augmented seventh, augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve). The easiest way to locate and identify the major seventh is from the octave rather than the unison, and it is suggested that one sings the octave first.Keith Wyatt, Carl Schroeder, Joe Elliott (2005). ''Ear Training for the Contempora ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Authentic Cadence
In Western musical theory, a cadence () 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. The word "cadence" sometimes slightly shifts its meaning depending on the context; for example, it ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Seventh Chord
A seventh chord is a chord (music), chord consisting of a triad (music), triad plus a note forming an interval (music), interval of a Interval (music), seventh above the chord's root (chord), root. When not otherwise specified, a "seventh chord" usually means a dominant seventh chord: a major triad together with a minor seventh. However, a variety of sevenths may be added to a variety of triads, resulting in many different types of seventh chords. In its earliest usage, the seventh was introduced solely as an nonchord tone, embellishing or nonchord tone. The seventh destabilized the triad, and allowed the composer to emphasize movement in a given direction. As time passed and the collective ear of the western world became more accustomed to Consonance and dissonance, dissonance, the seventh was allowed to become a part of the chord itself, and in some modern music, jazz in particular, . Additionally, the general acceptance of equal temperament during the 19th century reduced the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scale-degree
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 part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Scale
The major scale (or Ionian mode) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth). The simplest major scale to write is C major, the only major scale not requiring sharps or flats: The major scale has a central importance in Western music, particularly that of the common practice period and in popular music. In Carnatic music, it is known as '' Sankarabharanam''. In Hindustani classical music, it is known as '' Bilaval''. Structure A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is: : whole, whole, half, whole, whole, whole, half where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic Scale
In music theory a diatonic scale is a heptatonic scale, heptatonic (seven-note) scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps. In other words, the half steps are maximally separated from each other. The seven pitch (music), pitches of any diatonic scale can also be obtained by using a Interval cycle, chain of six perfect fifths. For instance, the seven natural (music), natural pitch classes that form the C-major scale can be obtained from a stack of perfect fifths starting from F: :F–C–G–D–A–E–B. Any sequence of seven successive natural notes, such as C–D–E–F–G–A–B, and any Transposition (music), transposition thereof, is a diatonic scale. Modern musical keyboards are designed so that the white-key notes form a diatonic scale, though transpositions of this diatonic scale require one or more black keys. A diaton ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Subtonic
In music, the subtonic is the degree of a musical scale which is a major second, whole step below the tonic (music), tonic note. In a major key, it is a lowered, or flattened, seventh Degree (music), scale degree (). It appears as the seventh scale degree in the Natural minor scale, natural minor and Descending melodic minor scale, descending melodic minor scales but not in the major scale. In major keys, the subtonic sometimes appears in Borrowed chord, borrowed chords. In the Solfège#Movable do solf%C3%A8ge, movable do solfège system, the subtonic note is sung as ''te'' (or ''ta''). The subtonic can be contrasted with the leading-note, leading note, which is a minor second, ''half step'' below the tonic. The distinction between leading note and subtonic has been made by theorists since at least the second quarter of the 20th century. Before that, the term ''subtonic'' often referred to the leading tone triad, for example. The word ''subtonic'' is also used as an English transl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian Mode
The Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek music, Ancient Greek ''harmoniai'' (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval Mode (music), musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself. : Greek Dorian mode The Dorian mode (properly ''harmonia'' or ''tonos'') is named after the Dorians, Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the ''hypate meson'' to the ''nete diezeugmenon''. In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third. : In the chromatic genus, they are semitone–semitone–minor third. : In the diatonic genus, they are semitone–tone–tone. : ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonic Minor Scale
The harmonic minor scale (or Aeolian ♮7 scale) is a Scale (music), musical scale derived from the natural minor scale, with the minor seventh degree raised by one semitone to a major seventh, creating an augmented second between the sixth and seventh degrees. : Thus, a harmonic minor scale is represented by the following notation: : 1, 2, 3, 4, 5, 6, 7, 8 A harmonic minor scale can be built by lowering the 3rd and 6th degrees of the parallel major scale by one semitone. Because of this construction, the 7th degree of the harmonic minor scale functions as a leading tone to the Tonic (music), tonic because it is a ''semitone'' lower than the tonic, rather than a ''whole tone'' lower than the tonic as it is in natural minor scales. The Interval (music), intervals between the notes of a harmonic minor scale follow the sequence below: : whole, half, whole, whole, half, augmented second, half While it evolved primarily as a basis for chords, the harmonic minor with its augment ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "" if it is major and by "" if it is minor. These chords may also appear as seventh chords: in major, as M7, or in minor as 7 or rarely M7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
