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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. Examp ... [...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 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. 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 period and ar ... [...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. 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–V co ... [...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 chord ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading Note
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 me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
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 Win ... [...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 Application ... [...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 #Relationship to other music traditions, distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" can also be applied to List of classical and art music traditions, non-Western art musics. Classical music is often characterized by formality and complexity in its musical form and Harmony, harmonic organization, particularly with the use of polyphony. Since at least the ninth century, it has been primarily a written tradition, spawning a sophisticated music notation, notational system, as well as accompanying literature in music analysis, analytical, music criticism, critical, Music history, historiographical, musicology, musicological and Philosophy of music, philosophical practices. A foundational component of Western culture, classical music is frequently seen from the perspective of individual or com ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented Chord
An augmented triad is a chord (music), chord, made up of two major thirds (an augmented fifth). The term ''augmented triad'' arises from an augmented triad being considered a major chord whose top note (fifth) is raised. When using Chord names and symbols (popular music), popular-music symbols, it is indicated by the symbol "+" or "aug". For example, the augmented triad built on A, written as A+, has pitches A-C-E: The chord can be represented by the Pitch class#Integer notation, integer notation . Analysis Whereas a Major chord, major triad, such as C–E–G, contains a major third (C–E) and a minor third (E–G), with the interval of the fifth (C–G) being Interval quality, perfect, the augmented triad has an augmented fifth, becoming C–E–G. In other words, the top note is raised a semitone. H.R. Palmer notes: The augmented chord on I may contain the Augmented major seventh chord, major seventh (I () or I ()), while the augmented chord on V may contain the Augment ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
V Of V In C Four-part Harmony
V, or v, is the twenty-second Letter (alphabet), letter of the Latin alphabet, used in the English alphabet, modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is English alphabet#Letter names, ''vee'' (pronounced ), plural ''vees''. Name * (); in dialects that lack contrast between and , the letter is called , "low B/V". * * * * or *Japanese language, Japanese: is called a variety of names originating in English, most commonly or , but less nativized variants, violating to an extent the phonotactics of Japanese, of ー , or , and are also used. The phoneme in Japanese is used properly only in loanwords, where the preference for either or depends on many factors; in general, words that are perceived to be in common use tend toward . * * * is recommended, but is traditional. If is referred to as the latter, it would have the same pronunciation as the letter in Spanish (i.e. after pause ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roman Numeral Chord Analysis
In music theory, Roman numeral analysis is a type of harmonic analysis in which chords are represented by Roman numerals, which encode the chord's degree and harmonic function within a given musical key. Specific notation conventions vary: some theorists use uppercase numerals (e.g. I, IV, V) to represent major chords, and lowercase numerals (e.g. ii, iii, vi) to represent minor chords. Others use uppercase numerals for all chords regardless of their chord quality, quality.Roger Sessions (1951). ''Harmonic Practice''. New York: Harcourt, Brace. . p. 7. (As the II, III, and VI chords always are minor chords and the VII always diminished, a further distinguishment is thought unneeded, see table for Major Diatonic scale below) Roman numerals can be used to notate and analyze the harmonic progression of a composition independent of its specific Key (music), key. For example, the ubiquitous twelve-bar blues progression uses the tonic chord, tonic (I), subdominant (IV), and dominant (m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
