441:
96:
389:
503:
464:
244:
1607:
33:
357:
344:
290:
273:
70:
518:
The movement to the dominant was part of musical grammar, not an element of form. Almost all music in the eighteenth century went to the dominant: before 1750 it was not something to be emphasized; afterward, it was something that the composer could take advantage of. This means that every
608:) with the tonic of a maqam being the lowest note of the lower jins and the dominant being that of the upper jins. The dominant of a maqam is not always the fifth, however; for example, in
519:
eighteenth-century listener expected the movement to the dominant in the sense that would have been puzzled if did not get it; it was a necessary condition of intelligibility.
223:, as a whole series, constitutes, as it were, the actual "music" within the scheme, which through the annexed formula V-I, is made into a unit, a group, or even a whole piece.
491:
of the main key of the piece. Put another way, it is the key whose tonic is the dominant scale degree in the main key. If, for example, a piece is written in the key of
536:(changes key) often modulates to the dominant key. Modulation to the dominant often creates a sense of increased tension; as opposed to modulation to the
1845:
467:
The key immediately clockwise is the dominant key of the key immediately counterclockwise, and features either one more sharp or one less flat.
687:
506:"Essentially, there are two harmonic directions: toward I and toward V. These primary diatonic triads form the harmonic axis of tonal music."
1411:
971:
940:
858:
793:
743:
712:
1328:
1238:
430:(example shown below), the dominant chord is followed by the tonic chord. A cadence that ends with a dominant chord is called a
1343:
826:
1754:
1353:
1338:
1133:
1107:
1103:
1099:
1064:
1060:
1056:
1043:
133:
444:
247:
211:
The scheme I-x-V-I symbolizes, though naturally in a very summarizing way, the harmonic course of any composition of the
99:
36:
1511:
639:
1876:
1582:
544:
The vast majority of harmonies designated as "essential" in the basic frame of structure must be I and V–the latter,
395:
178:
1368:
1348:
659:
1881:
1333:
212:
137:
1358:
1886:
1728:
1625:
1373:
1323:
1120:
409:
373:
312:
1526:
1455:
1363:
964:
502:
1749:
1733:
1567:
1231:
571:
121:
1318:
1313:
927:
886:
818:
583:
377:
320:
1804:
1769:
1723:
872:
634:
533:
447:
404:
250:
174:
162:
102:
39:
548:, an auxiliary support and embellishment of the former, for which it is the principal medium of
356:
343:
289:
272:
69:
1695:
1616:
1551:
949:
936:
854:
832:
822:
789:
739:
708:
683:
629:
427:
423:
220:
1764:
1700:
1438:
1285:
984:
957:
810:
154:
129:
463:
1715:
1587:
1531:
1491:
1481:
1465:
1406:
1290:
1280:
1224:
649:
605:
811:
197:(i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these.
1855:
1850:
1690:
1685:
1592:
1396:
1383:
988:
980:
484:
75:
63:
1870:
1759:
1705:
1677:
1633:
1606:
1546:
1541:
1501:
1300:
1262:
1247:
1030:
922:
806:
781:
731:
645:
617:
609:
524:
488:
480:
381:
369:
304:
202:
190:
166:
158:
146:
113:
83:
1809:
1663:
1536:
1521:
1506:
1486:
1460:
1427:
1308:
1116:
773:
653:
579:
549:
432:
300:
278:
228:
125:
1824:
1819:
1794:
1789:
1648:
1516:
1496:
1450:
1391:
1275:
1270:
1077:
1068:
700:
537:
511:
476:
362:
328:
324:
316:
308:
194:
170:
117:
1814:
1658:
1638:
1401:
1095:
1039:
595:
591:
87:
402:
was a seventh chord over the first note of a descending perfect fifth in the
1799:
1422:
836:
719:
V serves to establish the tonic triad...particularly evident at the cadence.
620:, the dominant is the minor third. A maqam may have more than one dominant.
332:
17:
1840:
1667:
1572:
1129:
587:
540:(fourth note of the scale), which creates a sense of musical relaxation.
261:
186:
1643:
1577:
1052:
575:
514:
in major keys, the second subject group is usually in the dominant key.
496:
492:
420:
690:. "So called because its function is next in importance to the tonic."
613:
462:
82:
because it is second in importance to the first scale degree, the
55:
600:
1220:
953:
157:, which means that it creates an instability that requires the
189:, harmonic analysis will reveal a broad prevalence of the
1216:
707:(3rd ed.). Holt, Rinehart, and Wilson. p. 118.
446:
Audio playback is not supported in your browser. You can
249:
Audio playback is not supported in your browser. You can
101:
Audio playback is not supported in your browser. You can
38:
Audio playback is not supported in your browser. You can
495:, then the tonic key is C major and the dominant key is
849:
Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990).
1833:
1782:
1742:
1714:
1676:
1624:
1614:
1560:
1474:
1436:
1382:
1299:
1261:
1254:
112:Chords with a dominant function: dominant chords (
931:. W. W. Norton. Cited in White, John D. (1976).
331:, the seventh scale degree is often raised by a
193:(often triadic) harmonies: tonic, dominant, and
542:
516:
260:C minor scale and dominant triad, first with a
209:
183:
817:(5th ed.). Boston: McGraw-Hill. pp.
90:system, the dominant note is sung as "So(l)".
1232:
965:
8:
546:when tonal music is viewed in broadest terms
394:As defined by the 19th century musicologist
1621:
1258:
1239:
1225:
1217:
997:
972:
958:
950:
851:Studies in the Origin of Harmonic Tonality
499:since G is the dominant note in C major.
149:built on the dominant note is called the
570:The dominant is an important concept in
501:
757:
755:
671:
853:, p. 143. Princeton University Press.
327:, denoted by "v". However, in a minor
153:. This chord is said to have dominant
910:
761:
680:Music: In Theory and Practice, Vol. I
616:, the dominant is the fourth, and in
7:
644:For use of the term "dominant" as a
173:typically have dominant function.
27:Tonal degree of the diatonic scale
25:
419:Dominant chords are important to
376:, but occasionally in minor as a
181:may also have dominant function.
1605:
426:. In the strongest cadence, the
368:These chords may also appear as
355:
342:
288:
271:
68:
49:C major scale and dominant triad
412:dominant seventh he named the
1:
736:Structural Functions in Music
678:Benward & Saker (2003).
640:Secondary leading-tone chord
443:
246:
185:In very much conventionally
98:
35:
436:or an "imperfect cadence".
179:leading-tone seventh chords
1903:
1329:Dominant seventh flat five
682:, p. 33. Seventh Edition.
1603:
995:
809:; Payne, Dorothy (2004).
660:Nondominant seventh chord
408:or root progression, the
219:, usually appearing as a
778:Tonality in Modern Music
586:, scales are made up of
1846:Chord names and symbols
891:Encyclopædia Britannica
448:download the audio file
251:download the audio file
134:half-diminished seventh
103:download the audio file
40:download the audio file
1729:Secondary leading-tone
560:
530:
507:
468:
410:common practice period
374:dominant seventh chord
234:
208:
933:The Analysis of Music
505:
466:
221:progression of chords
1734:Secondary supertonic
784:& Payne (1995).
572:Middle Eastern music
566:In non-Western music
311:, symbolized by the
928:The Classical Style
780:, p. 28, quoted in
378:minor seventh chord
321:natural minor scale
175:Leading-tone triads
165:. Dominant triads,
78:. It is called the
1877:Diatonic functions
1805:Chord-scale system
1724:Secondary dominant
873:Grove Music Online
635:Secondary dominant
508:
469:
405:basse fondamentale
277:) and then with a
138:diminished seventh
88:movable do solfège
1864:
1863:
1778:
1777:
1696:Chromatic mediant
1601:
1600:
1552:Viennese trichord
1214:
1213:
1209:
1208:
1205:
1187:
1163:
1005:
688:978-0-07-294262-0
630:Predominant chord
479:whose tonic is a
452:
428:authentic cadence
414:dominante tonique
372:: typically as a
323:, the triad is a
255:
107:
44:
16:(Redirected from
1894:
1622:
1609:
1417:
1416:
1374:Harmonic seventh
1344:Diminished major
1259:
1241:
1234:
1227:
1218:
1203:
1201:
1200:
1195:
1194:
1185:
1183:
1182:
1177:
1176:
1161:
1159:
1158:
1153:
1152:
1003:
998:
974:
967:
960:
951:
944:
920:
914:
908:
902:
901:
899:
897:
882:
876:
868:
862:
847:
841:
840:
816:
803:
797:
771:
765:
759:
750:
749:
728:
722:
721:
697:
691:
676:
558:
528:
382:passing function
360:
359:
353:
352:
347:
346:
340:
339:
293:
292:
286:
285:
276:
275:
269:
268:
232:
213:Classical period
206:
73:
72:
21:
1902:
1901:
1897:
1896:
1895:
1893:
1892:
1891:
1882:Dominant chords
1867:
1866:
1865:
1860:
1829:
1774:
1738:
1710:
1672:
1610:
1597:
1588:Synthetic chord
1556:
1527:Northern lights
1492:Complexe sonore
1470:
1456:Augmented sixth
1444:
1442:
1432:
1414:
1413:
1407:Upper structure
1378:
1364:Altered seventh
1359:Augmented minor
1354:Augmented major
1339:Half-diminished
1295:
1250:
1245:
1215:
1210:
1202:
1198:
1197:
1192:
1191:
1184:
1180:
1179:
1174:
1173:
1160:
1156:
1155:
1150:
1149:
1137:
1132:
1124:
1119:
1111:
1098:
1090:
1081:
1072:
1055:
1047:
1042:
1034:
1002:
991:
978:
948:
947:
921:
917:
909:
905:
895:
893:
884:
883:
879:
869:
865:
848:
844:
829:
805:
804:
800:
772:
768:
760:
753:
746:
730:
729:
725:
715:
699:
698:
694:
677:
673:
668:
650:Gregorian chant
626:
598:(each called a
576:Persian Dastgah
568:
562:
559:
556:
529:
523:
461:
454:
453:
451:
390:
354:
350:
349:
341:
337:
336:
303:, the dominant
297:
296:
295:
287:
283:
282:
270:
266:
265:
258:
257:
256:
254:
239:
237:Dominant chords
233:
227:
207:
201:
143:
142:
141:
110:
109:
108:
106:
67:
52:
51:
50:
47:
46:
45:
43:
28:
23:
22:
15:
12:
11:
5:
1900:
1898:
1890:
1889:
1884:
1879:
1869:
1868:
1862:
1861:
1859:
1858:
1853:
1851:List of chords
1848:
1843:
1837:
1835:
1831:
1830:
1828:
1827:
1822:
1817:
1812:
1807:
1802:
1797:
1792:
1786:
1784:
1780:
1779:
1776:
1775:
1773:
1772:
1767:
1762:
1757:
1752:
1746:
1744:
1740:
1739:
1737:
1736:
1731:
1726:
1720:
1718:
1712:
1711:
1709:
1708:
1703:
1698:
1693:
1688:
1682:
1680:
1674:
1673:
1671:
1670:
1661:
1656:
1651:
1646:
1641:
1636:
1630:
1628:
1619:
1612:
1611:
1604:
1602:
1599:
1598:
1596:
1595:
1590:
1585:
1580:
1575:
1570:
1568:Mixed interval
1564:
1562:
1558:
1557:
1555:
1554:
1549:
1544:
1539:
1534:
1529:
1524:
1519:
1514:
1509:
1504:
1499:
1494:
1489:
1484:
1478:
1476:
1472:
1471:
1469:
1468:
1463:
1458:
1453:
1447:
1445:
1437:
1434:
1433:
1431:
1430:
1425:
1420:
1409:
1404:
1399:
1394:
1388:
1386:
1380:
1379:
1377:
1376:
1371:
1366:
1361:
1356:
1351:
1346:
1341:
1336:
1331:
1326:
1321:
1316:
1311:
1305:
1303:
1297:
1296:
1294:
1293:
1288:
1283:
1278:
1273:
1267:
1265:
1256:
1252:
1251:
1246:
1244:
1243:
1236:
1229:
1221:
1212:
1211:
1207:
1206:
1188:
1170:
1167:
1164:
1146:
1143:
1139:
1138:
1127:
1125:
1114:
1112:
1093:
1091:
1084:
1082:
1075:
1073:
1050:
1048:
1037:
1035:
1028:
1025:
1024:
1021:
1018:
1015:
1012:
1009:
1006:
996:
993:
992:
989:diatonic scale
979:
977:
976:
969:
962:
954:
946:
945:
923:Rosen, Charles
915:
913:, p. 103.
903:
885:DeVoto, Mark.
877:
863:
842:
827:
807:Kostka, Stefan
798:
766:
751:
744:
738:. p. 54.
732:Berry, Wallace
723:
713:
692:
670:
669:
667:
664:
663:
662:
657:
642:
637:
632:
625:
622:
567:
564:
554:
521:
485:perfect fourth
460:
457:
456:
455:
445:
442:
440:
392:
391:
388:
370:seventh chords
361:), creating a
259:
248:
245:
243:
242:
241:
240:
238:
235:
225:
199:
167:seventh chords
151:dominant chord
122:dominant ninth
111:
100:
97:
95:
94:
93:
92:
76:diatonic scale
48:
37:
34:
32:
31:
30:
29:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1899:
1888:
1887:Scale degrees
1885:
1883:
1880:
1878:
1875:
1874:
1872:
1857:
1854:
1852:
1849:
1847:
1844:
1842:
1839:
1838:
1836:
1832:
1826:
1823:
1821:
1818:
1816:
1813:
1811:
1808:
1806:
1803:
1801:
1798:
1796:
1793:
1791:
1788:
1787:
1785:
1781:
1771:
1768:
1766:
1763:
1761:
1760:Primary triad
1758:
1756:
1753:
1751:
1748:
1747:
1745:
1741:
1735:
1732:
1730:
1727:
1725:
1722:
1721:
1719:
1717:
1713:
1707:
1704:
1702:
1699:
1697:
1694:
1692:
1689:
1687:
1684:
1683:
1681:
1679:
1675:
1669:
1665:
1662:
1660:
1657:
1655:
1652:
1650:
1647:
1645:
1642:
1640:
1637:
1635:
1632:
1631:
1629:
1627:
1623:
1620:
1618:
1613:
1608:
1594:
1591:
1589:
1586:
1584:
1581:
1579:
1576:
1574:
1571:
1569:
1566:
1565:
1563:
1559:
1553:
1550:
1548:
1545:
1543:
1540:
1538:
1535:
1533:
1530:
1528:
1525:
1523:
1520:
1518:
1515:
1513:
1510:
1508:
1505:
1503:
1500:
1498:
1495:
1493:
1490:
1488:
1485:
1483:
1480:
1479:
1477:
1473:
1467:
1464:
1462:
1459:
1457:
1454:
1452:
1449:
1448:
1446:
1440:
1435:
1429:
1426:
1424:
1421:
1419:
1410:
1408:
1405:
1403:
1400:
1398:
1395:
1393:
1390:
1389:
1387:
1385:
1381:
1375:
1372:
1370:
1367:
1365:
1362:
1360:
1357:
1355:
1352:
1350:
1347:
1345:
1342:
1340:
1337:
1335:
1332:
1330:
1327:
1325:
1322:
1320:
1317:
1315:
1312:
1310:
1307:
1306:
1304:
1302:
1298:
1292:
1289:
1287:
1284:
1282:
1279:
1277:
1274:
1272:
1269:
1268:
1266:
1264:
1260:
1257:
1253:
1249:
1242:
1237:
1235:
1230:
1228:
1223:
1222:
1219:
1204:(Major/Minor)
1189:
1186:(Major/Minor)
1171:
1168:
1165:
1162:(Major/Minor)
1147:
1144:
1141:
1140:
1136:
1135:
1131:
1126:
1123:
1122:
1118:
1113:
1110:
1109:
1105:
1101:
1097:
1092:
1089:
1088:
1083:
1080:
1079:
1074:
1071:
1070:
1066:
1062:
1058:
1054:
1049:
1046:
1045:
1041:
1036:
1033:
1032:
1027:
1026:
1022:
1019:
1016:
1013:
1010:
1007:
1004:(Major/Minor)
1000:
999:
994:
990:
986:
982:
975:
970:
968:
963:
961:
956:
955:
952:
942:
941:0-13-033233-X
938:
934:
930:
929:
924:
919:
916:
912:
907:
904:
892:
888:
881:
878:
875:
874:
867:
864:
860:
859:0-691-09135-8
856:
852:
846:
843:
838:
834:
830:
824:
820:
815:
814:
813:Tonal Harmony
808:
802:
799:
795:
794:0-07-035874-5
791:
787:
786:Tonal Harmony
783:
779:
775:
774:Reti, Rudolph
770:
767:
763:
758:
756:
752:
747:
745:0-486-25384-8
741:
737:
733:
727:
724:
720:
716:
714:0-03-020756-8
710:
706:
705:Tonal Harmony
702:
696:
693:
689:
685:
681:
675:
672:
665:
661:
658:
655:
651:
647:
646:reciting tone
643:
641:
638:
636:
633:
631:
628:
627:
623:
621:
619:
615:
611:
610:Kurdish music
607:
603:
602:
597:
593:
589:
585:
584:Turkish makam
581:
577:
573:
565:
563:
553:
551:
547:
541:
539:
535:
526:
525:Charles Rosen
520:
515:
513:
504:
500:
498:
494:
490:
486:
482:
481:perfect fifth
478:
474:
465:
458:
449:
439:
438:
437:
435:
434:
429:
425:
422:
417:
415:
411:
407:
406:
401:
397:
387:
386:
385:
383:
379:
375:
371:
366:
364:
358:
345:
334:
330:
326:
322:
318:
314:
313:Roman numeral
310:
306:
302:
291:
280:
274:
263:
252:
236:
230:
224:
222:
218:
214:
204:
203:Wallace Berry
198:
196:
192:
188:
182:
180:
176:
172:
168:
164:
160:
156:
152:
148:
139:
135:
131:
127:
123:
119:
115:
104:
91:
89:
85:
81:
77:
71:
65:
62:is the fifth
61:
57:
41:
19:
1664:Leading-tone
1653:
1441: /
1428:Tone cluster
1309:Leading-tone
1128:
1117:Leading-tone
1115:
1094:
1086:
1085:
1076:
1051:
1038:
1029:
932:
926:
918:
906:
894:. Retrieved
890:
880:
871:
870:"Dominant",
866:
850:
845:
812:
801:
785:
777:
769:
764:, p. 62
735:
726:
718:
704:
701:Forte, Allen
695:
679:
674:
654:church modes
599:
580:Arabic maqam
569:
561:
557:Berry (1976)
550:tonicization
545:
543:
532:Music which
531:
517:
509:
483:above (or a
473:dominant key
472:
470:
459:Dominant key
433:half cadence
431:
424:progressions
418:
413:
403:
399:
396:Joseph FĂ©tis
393:
367:
301:music theory
298:
279:leading tone
229:Rudolph Reti
216:
210:
184:
171:ninth chords
150:
144:
126:leading-tone
79:
64:scale degree
59:
53:
18:Dominant key
1649:Subdominant
1512:Grandmother
1369:Nondominant
1349:Minor-major
1078:Subdominant
596:pentachords
592:tetrachords
538:subdominant
512:sonata form
487:below) the
363:major chord
325:minor chord
317:major scale
315:"V" in the
309:major chord
195:subdominant
187:tonal music
1871:Categories
1783:Techniques
1770:Substitute
1765:Subsidiary
1701:Neapolitan
1659:Submediant
1639:Supertonic
1412:Dominant 7
1402:Thirteenth
1334:Diminished
1286:Diminished
1096:Submediant
1040:Supertonic
911:Forte 1979
887:"Dominant"
828:0072852607
788:, p. 458.
762:Berry 1987
666:References
618:maqam Saba
163:resolution
130:diminished
1800:Chordioid
1716:Secondary
1532:Petrushka
1466:Seven six
1423:Polychord
1291:Suspended
1281:Augmented
1023:vii / VII
1011:iii / III
985:functions
935:, p. 56.
734:(1987) .
588:trichords
574:. In the
534:modulates
421:cadential
400:dominante
333:half step
319:. In the
86:. In the
74:) of the
1841:Arpeggio
1755:Contrast
1691:Borrowed
1686:Approach
1668:Subtonic
1654:Dominant
1626:Diatonic
1617:function
1573:Secundal
1475:Specific
1415:♯
1397:Eleventh
1384:Extended
1324:Dominant
1199:♭
1193:♮
1181:♭
1175:♮
1157:♭
1151:♮
1130:Subtonic
1087:Dominant
925:(1972).
837:51613969
776:(1962).
703:(1979).
624:See also
582:and the
555:—
522:—
351:♮
338:♭
284:♮
267:♭
262:subtonic
231:, (1962)
226:—
200:—
155:function
128:chords (
80:dominant
60:dominant
1706:Passing
1678:Altered
1644:Mediant
1583:Quartal
1578:Tertian
1561:General
1547:Tristan
1542:So What
1502:Elektra
1443:omitted
1301:Seventh
1255:By form
1053:Mediant
1020:vi / VI
1014:IV / iv
1008:ii / ii
987:of the
981:Degrees
497:G major
493:C major
475:is the
380:v with
215:. This
191:primary
114:seventh
1856:Factor
1810:Guitar
1750:Common
1593:Tetrad
1537:Psalms
1522:Mystic
1507:Farben
1487:Bridge
1461:Lydian
1248:Chords
939:
896:22 May
857:
835:
825:
792:
782:Kostka
742:
711:
686:
652:, see
614:Bayati
606:Arabic
594:, and
527:(1972)
398:, the
205:(1976)
169:, and
136:, and
124:) and
120:, and
58:, the
1834:Other
1825:Slash
1820:Power
1795:Block
1790:Barre
1743:Other
1634:Tonic
1517:Magic
1497:Dream
1482:Alpha
1451:Sixth
1439:Added
1392:Ninth
1319:Minor
1314:Major
1276:Minor
1271:Major
1263:Triad
1031:Tonic
1017:V / v
1001:I / i
489:tonic
307:is a
305:triad
159:tonic
147:triad
118:ninth
84:tonic
56:music
1815:Open
1069:(Sp)
983:and
937:ISBN
898:2013
855:ISBN
833:OCLC
823:ISBN
790:ISBN
740:ISBN
709:ISBN
684:ISBN
612:and
601:jins
471:The
177:and
161:for
145:The
1615:By
1196:/ B
1178:/ A
1154:/ E
1108:tCp
1061:Tkp
819:197
648:in
604:in
510:In
477:key
348:to
329:key
299:In
54:In
1873::
1666:/
1134:dP
1121:D̸
1106:,
1104:sP
1102:,
1100:Tp
1067:,
1065:tP
1063:,
1059:,
1057:Dp
1044:Sp
889:.
831:.
821:.
754:^
717:.
590:,
578:,
416:.
384::
365:.
140:).
132:,
116:,
1418:9
1240:e
1233:t
1226:v
1190:B
1172:A
1169:G
1166:F
1148:E
1145:D
1142:C
973:e
966:t
959:v
943:.
900:.
861:.
839:.
796:.
748:.
656:.
552:.
450:.
335:(
294:)
281:(
264:(
253:.
217:x
105:.
66:(
42:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
