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641:, a secondary dominant is any dominant seventh chord on a weak beat and resolves downward by a perfect fifth. Thus, a chord is a secondary dominant when it functions as the dominant of some harmonic element other than the key's tonic and resolves to that element. This is slightly different from the traditional use of the term, where a secondary dominant does not have to be a seventh chord, occur on a weak beat, or resolve downward. If a non-diatonic dominant chord is used on a strong beat, it is considered an
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1448:(New York: W. W. Norton & Company, Inc.), p. 151. : "These temporary dominant chords have been referred to by theorists as attendant chords, parenthesis chords, borrowed chords, etc. We shall call them secondary dominants, in the belief that the term is slightly more descriptive of their function."
1472:
by which a chord changes into another: "By substituting for the third in minor triads, they produce 'artificial' major triads and 'artificial' dominant seventh chords. Substituting for the fifth changes minor triads to 'artificial' diminished triads, commonly used with an added seventh, and changes
327:
The notation below shows the secondary-dominant chords for C major. Each chord is accompanied by its standard number in harmonic notation. In this notation, a secondary dominant is usually labeled with the formula "V of ..." (dominant chord of); thus "V of ii" stands for the dominant of the ii chord,
323:
of C major. However, each of the chords from ii to vi also has its own dominant. For example, V (G major) has a D major triad as its dominant. These extra dominant chords are not part of the key of C major as such because they include notes that are not part of the C major scale. Instead, they are
289:
in ascending order. Because tonic triads are either major or minor, one would not expect to find diminished chords (either the vii in major or the ii in minor) tonicized by a secondary dominant. It would also not make sense for the tonic of the key itself to be tonicized.
790:, which resolves to a secondary dominant. For example, V/V/V (in C major, A) resolves to V/V (D), which resolves to V (G), which resolves to I. Note that V/V/V is the same chord as V/ii, but differs in its resolution to a major dominant rather than a minor chord.
268:
According to music theorists David Beach and Ryan C. McClelland, "he purpose of the secondary dominant is to place emphasis on a chord within the diatonic progression." The secondary-dominant terminology is still usually applied even if the chord resolution is
629:
703:
628:
579:
122:. 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. Conventionally, they are written with the notation "
1473:
major triads to augmented. Artificial dominants, artificial dominant seventh chords, and artificial diminished seventh chords are normally used in progressions according to the models V–I, V—VI and V—IV. (p. 16.)
422:(C–E–G–B♭), does not represent the tonic because it contains a B♭, which isn't included in the main key, as Beethoven's Symphony No. 1 is written in the key of C major. The chord then resolves on the natural IV (
930:
of only one subsequent chord (which will be rooted in the resolution tone), or the music can continue with other chords/notes in the key of that chord's root for a phrase, or even longer to be considered a
672:, which would normally be Dm–G–C in the key of C major, some tunes will use D–G–C. Since jazz tunes are often based on the circle of fifths, this creates long sequences of secondary dominants.
251:, with the dominant of the dominant (written as V/V or V of V) being the most frequently encountered. The chord that the secondary dominant is the dominant of is said to be a temporarily
492:, a secondary dominant, along with its chord of resolution, was considered a modulation. Since this was a rather self-contradictory description, theorists in the early 1900s, such as
496:(who used the term "Zwischendominante"—"intermediary dominant", still the usual German term for a secondary dominant), searched for a better description of the phenomenon.
782:
down by a fifth to another dominant seventh chord. A series of extended dominant chords continues to resolve downwards by the circle of fifths until it reaches the
130:". Thus, the most common secondary chord, the dominant of the dominant, is written "V/V" and read as "five of five" or "the dominant of the dominant". The
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If it is major, the leading-tone chord may be either half-diminished or fully diminished, though fully diminished chords are used more often.
668:. In some jazz tunes, all or almost all of the chords that are used are dominant chords. For example, in the standard jazz chord progression
1217:
362:
are commonly used as secondary dominants. The notation below shows the same secondary dominants as above but with dominant seventh chords.
432:, for example VI is also a secondary dominant of ii (V/ii) and III is V/vi, are distinguished from secondary dominants with context and
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While the root of a secondary leading-tone chord needs to be the leading-tone, the other notes may vary and form with it one of: the
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257:. The secondary dominant is normally, though not always, followed by the tonicized chord. Tonicizations that last longer than a
969:, not necessarily seventh chord) where the type of the diminished seventh is typically related to the type of tonicized triad:
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serves as one illustration of secondary dominants. This passage has three secondary dominants. The final four chords form a
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through a wider distance of perfect fifth below or perfect fourth above the chord's root (as per the two distances between
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1889:
1874:
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According to the principles exposed above, in fact, V/IV, which means the C chord, i.e. the dominant seventh chord on the
1176:(IV) of the tonicized chord. For example, in G major, the supertonic chord is A minor and the IV of ii chord is D major.
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1468:(New York: W. W. Norton & Company, Inc.): 15–29, 197. The term "artificial", however, appears to refer to the
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1904:
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created the expression "artificial dominant" to describe the same phenomenon, in his posthumously published book
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The other secondary functions are the secondary mediant, the secondary submediant, and the secondary subtonic.
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328:"V of iii" for the dominant of iii, and so on. A shorter notation, used below, is "V/ii", "V/iii", etc.
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min., in C major), ii/II (Amin., in F major), ii/V (Emin., in G major), and ii/IV (Bmin., in E major).
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Continuum
Encyclopedia of Popular Music of the World: Volume II: Performance and Production, Volume 11
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426:) and in the following bar the V, i.e. G (dominant seventh chord on the C major key), is presented.
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1490:. Revised by Mark Devoto (5th ed.). New York: W. W. Norton & Company, Inc. p. 257.
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Because of their symmetry, secondary leading-tone diminished seventh chords are also useful for
506:. (Notably, Piston's analytical symbol always used the word "of"—e.g. "V of IV" rather than the
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808:, No. 1 (1835) has a quaternary dominant in the second beat (V/ii = V/V/V, V/vi = V/V/V/V).
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161:. Composers began to use them less frequently with the breakdown of conventional harmony in
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1154:, as does a secondary dominant, it creates a temporary dominant. Examples include ii/III (F
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If the tonicized triad is minor, the leading-tone chord is fully diminished seventh chord.
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is added (V/IV), it becomes an altered chord because the seventh is not a diatonic pitch.
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273:. For example, the V/ii label is still used even if the V/ii chord is not followed by ii.
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may have any secondary function applied to it; secondary functions may even be applied to
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1092:, but they began to be used less frequently with the breakdown of conventional harmony.
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of A, which is the secondary dominant of D minor, the ii chord in the key of C (V/ii).
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Secondary dominants are also used in popular music. Examples include II (V/V) in
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514:, Piston used the term "secondary dominant". At around the same time (1946–48),
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to) a tone just 1 semitone from that root (typically 1 semitone above, though
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Analysis of 18th- and 19th-century
Musical Works in the Classical Tradition
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to that key. This one-semitone-apart resolution of the secondary
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and are found more frequently and less conventionally in the
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Jazzology: The
Encyclopedia of Jazz Theory for All Musicians
384:
Note that the triad V/IV is the same as the I triad. When a
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1126:
A secondary supertonic chord: ii/V–V/V–V in C major (a–D–G)
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first used the analysis "V of IV" in a monograph entitled
1752:
1115:
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Of these chords, the V chord (G major) is said to be the
307:
Audio playback is not supported in your browser. You can
196:
Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
1196: – A major triad plus the harmonic seventh interval
1088:. They are found even more frequently and freely in the
1222:
Pages displaying short descriptions of redirect targets
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Pages displaying short descriptions of redirect targets
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Pages displaying short descriptions of redirect targets
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are rarer, but an example is the bridge section of the
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Secondary leading-tone chords were not used until the
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Pages displaying wikidata descriptions as a fallback
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Secondary dominants are used in jazz harmony in the
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1972:
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1095:The chord progression vii/V–V–I is quite common in
1289:(5th ed.). Boston: McGraw-Hill. p. 246.
718:For a chord with extensions past the seventh, see
285:contains seven basic chords, which are named with
1747:A History of Harmonic Theory in the United States
1260:Benward, Bruce and Saker, Marilyn Nadine (2003).
854:A secondary leading-tone half-diminished chord in
786:. The most common extended dominant chord is the
778:chord is a secondary dominant seventh chord that
541:progression, ending in a standard dominant-tonic
1660:Revisiting Music Theory: A Guide to the Practice
153:and are found more frequently and freely in the
118:, chords that are not part of the music piece's
1749:. Kent, Ohio: The Kent State University Press.
1640:
1638:
1636:
1605:
1603:
645:. If it doesn't resolve downward, it may be a
165:—but secondary dominants are a cornerstone of
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2418:
1768:
1365:Rawlins, Robert and Nor Eddine Bahha (2005).
1344:Beach, David and McClelland, Ryan C. (2012).
1280:
1278:
350:Like most chords, secondary dominants may be
8:
1731:Nettles, Barrie & Graf, Richard (1997).
766:and a progression with secondary dominants:
1050:should resolve appropriately, inwards if a
695:" features chains of secondary dominants. "
297:of C major, the five remaining chords are:
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988:of any diminished seventh chord. They may
181:"V/V" redirects here. For other uses, see
1618:Richard Lawn, Jeffrey L. Hellmer (1996).
1555:. Everett notates major-minor sevenths X.
1264:, seventh edition (McGraw-Hill): p. 275.
476:Before the 20th century, in the music of
149:Secondary chords were not used until the
1407:Benward & Saker (2003), pp. 201–204.
1317:Benward & Saker (2003), pp. 273–277.
525:In the fifth edition of Walter Piston's
1733:The Chord Scale Theory and Jazz Harmony
1285:Kostka, Stefan; Payne, Dorothy (2004).
1253:
984:; all four notes may be considered the
920:
911:of (in short, has a strong affinity to
689:The Shoop Shoop Song (It's in His Kiss)
1139:, is a secondary chord that is on the
890:showing secondary leading-tone chords.
642:
529:, a passage from the last movement of
1262:Music: In Theory and Practice, Vol. I
7:
1218:Common-tone diminished seventh chord
1697:Benward & Saker (2003), p. 270.
1609:Benward & Saker (2003), p. 276.
1534:Benward & Saker (2003), p. 277.
1416:Benward & Saker (2003), p. 274.
622:I'd Like to Teach the World to Sing
1688:Benward & Saker (2003), p. 272
1644:Benward & Saker (2003), p. 271
1335:Kostka & Payne (2003), p. 250.
469:Piano Sonata No. 10, op. 14, no. 2
25:
1679:Kostka & Payne (2004). p. 263
1326:Benward and Saker (2003), p. 269.
1211: – Type of chord progression
681:Don't Think Twice, It's All Right
2675:
2141:
1708:Composing for the Jazz Orchestra
1229: – Common chord progression
939:is in contrast to the secondary
625:
84:device that is prevalent in the
27:Harmonic device in Western music
1710:, p.80. University of Chicago.
1462:Structural Functions of Harmony
1430:Principles of Harmonic Analysis
520:Structural Functions of Harmony
504:Principles of Harmonic Analysis
146:in some special circumstances.
110:Secondary chords are a type of
1205: – Jazz chord progression
1058:, as the example below shows.
535:Piano Sonata K. 283 in G major
1:
903:is a secondary chord that is
265:to a new key (or new tonic).
1706:Russo, William (1961/2015).
1112:
1065:
1042:should resolve downwards by
901:secondary leading-tone chord
870:
840:
815:
745:
730:
699:" opens with V/V/V–V/V–V–I.
581:
556:
449:
403:
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335:
304:
193:
46:
1745:Thompson, David M. (1980).
1432:(Boston: E. C. Schirmer). .
693:Five Foot Two, Eyes of Blue
436:revealing the distinction.
354:or chords with other upper
66:Fantasia in C minor, K. 475
2728:
1865:Dominant seventh flat five
1133:secondary supertonic chord
1046:and if possible the lower
717:
396:begins with a V/IV chord:
261:are generally regarded as
180:
29:
2673:
2600:
2455:Consonance and dissonance
2440:
2139:
1620:Jazz: Theory and Practice
572:In jazz and popular music
510:"V/IV.) In his 1941 book
1658:Blatter, Alfred (2007).
1568:, p. 10. A&C Black.
1543:Everett, Walter (2009).
1194:Barbershop seventh chord
1150:a degree other than the
30:Not to be confused with
2512:Otonality and utonality
2382:Chord names and symbols
1587:Jazz Chord Progressions
1564:Shepherd, John (2003).
1545:The Foundations of Rock
1513:Spitzer, Peter (2001).
1386:White, John D. (1976).
1117:download the audio file
1070:download the audio file
875:download the audio file
845:download the audio file
820:download the audio file
750:download the audio file
735:download the audio file
620:Secondary dominant in "
586:download the audio file
561:download the audio file
463:Secondary dominants in
454:download the audio file
408:download the audio file
374:download the audio file
360:Dominant seventh chords
340:download the audio file
309:download the audio file
198:download the audio file
51:download the audio file
2662:Polymodal chromaticism
2642:Diatonic and chromatic
2265:Secondary leading-tone
831:Secondary leading-tone
634:
545:, which concludes the
287:Roman numeral analysis
163:modern classical music
157:, even more so in the
94:common practice period
2610:Augmented sixth chord
1388:The Analysis of Music
1233:Secondary development
1220: – Musical chord
1170:secondary subdominant
1164:Secondary subdominant
884:Three measures from "
619:
324:secondary dominants.
173:in the 20th century.
80:label for a specific
2532:Schenkerian analysis
2527:Progressive tonality
2270:Secondary supertonic
1515:Jazz Theory Handbook
1348:, p. 32. Routledge.
1203:Backdoor progression
1103:Secondary supertonic
907:on a tone that is a
794:Quaternary dominants
683:" and III (V/vi) in
662:substitute dominants
60:Secondary chords in
1585:Boyd, Bill (1997).
1054:and outwards if an
959:diminished sevenths
858:Intermezzo, op. 119
697:Sweet Georgia Brown
660:variations, as are
225:artificial dominant
183:VV (disambiguation)
2707:Diatonic functions
2632:Chromatic fantasia
2470:Secondary function
2341:Chord-scale system
2260:Secondary dominant
1458:Schoenberg, Arnold
1227:ii–V–I progression
1209:Circle progression
926:it can be used as
806:Polonaises, Op. 26
635:
595:Measure 2 shows a
430:Chromatic mediants
217:secondary dominant
177:Secondary dominant
2684:
2683:
2637:Chromatic mediant
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2559:
2465:Diatonic function
2400:
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2314:
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2232:Chromatic mediant
2137:
2136:
2088:Viennese trichord
1735:. Advance Music,
1716:978-0-226-73209-1
1628:978-0-88284-722-1
1553:978-0-19-531023-8
1497:978-0-393-95480-7
1270:978-0-07-294262-0
1121:
1074:
1036:four-part writing
1000:diatonic triads:
879:
849:
824:
788:tertiary dominant
776:extended dominant
754:
739:
714:Extended dominant
658:blues progression
643:extended dominant
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624:" (1971), mm. 1–8
603:upwards from the
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565:
516:Arnold Schoenberg
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412:
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239:built and set to
229:borrowed dominant
209:four-part harmony
202:
144:diminished triads
92:beginning in the
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16:(Redirected from
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2697:Secondary chords
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2657:Neapolitan chord
2620:Chromatic fourth
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2542:Tonality diamond
2450:Circle of fifths
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1910:Harmonic seventh
1880:Diminished major
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1030:: III, iv, V, VI
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539:circle of fifths
221:applied dominant
155:Classical period
138:on any diatonic
36:Subsidiary chord
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1949:
1943:Upper structure
1914:
1900:Altered seventh
1895:Augmented minor
1890:Augmented major
1875:Half-diminished
1831:
1786:
1781:
1728:
1726:Further reading
1723:
1722:
1705:
1701:
1696:
1692:
1687:
1683:
1678:
1674:
1662:, pp. 132–133.
1657:
1648:
1643:
1634:
1617:
1613:
1608:
1601:
1584:
1580:
1563:
1559:
1542:
1538:
1533:
1529:
1512:
1505:
1498:
1482:
1481:
1477:
1466:Humphrey Searle
1456:
1452:
1440:
1436:
1424:
1420:
1415:
1411:
1406:
1402:
1385:
1381:
1364:
1360:
1343:
1339:
1334:
1330:
1325:
1321:
1316:
1312:
1297:
1284:
1283:
1276:
1259:
1255:
1250:
1241:
1221:
1212:
1197:
1190:
1182:
1166:
1156:
1155:
1129:
1128:
1127:
1124:
1123:
1122:
1120:
1105:
1090:Romantic period
1076:
1075:
1073:
961:(as in seventh
952:
893:
892:
891:
889:
882:
881:
880:
878:
863:
862:
861:
855:
852:
851:
850:
848:
833:
826:
825:
823:
772:
771:
770:
768:I–V/V/V–V/V–V–I
757:
756:
755:
753:
741:
740:
738:
723:
716:
704:
702:
701:
700:
626:
614:
613:
612:
593:
592:
591:
589:
574:
567:
566:
564:
474:
473:
472:
461:
460:
459:
457:
442:
414:
413:
411:
380:
379:
377:
346:
345:
343:
315:
314:
312:
279:
254:tonicized chord
247:other than the
213:
212:
211:
205:
204:
203:
201:
186:
179:
159:Romantic period
74:secondary chord
70:
69:
68:
58:
57:
56:
54:
39:
32:Secondary triad
28:
23:
22:
15:
12:
11:
5:
2725:
2723:
2715:
2714:
2709:
2704:
2699:
2689:
2688:
2682:
2681:
2674:
2672:
2670:
2669:
2664:
2659:
2654:
2652:False relation
2649:
2644:
2639:
2634:
2629:
2628:
2627:
2617:
2615:Borrowed chord
2612:
2607:
2601:
2598:
2597:
2592:
2590:
2589:
2582:
2575:
2567:
2558:
2557:
2555:
2554:
2549:
2544:
2539:
2534:
2529:
2524:
2519:
2514:
2509:
2504:
2499:
2494:
2489:
2484:
2479:
2474:
2473:
2472:
2462:
2460:Diatonic scale
2457:
2452:
2447:
2441:
2438:
2437:
2432:
2430:
2429:
2422:
2415:
2407:
2398:
2397:
2395:
2394:
2389:
2387:List of chords
2384:
2379:
2373:
2371:
2367:
2366:
2364:
2363:
2358:
2353:
2348:
2343:
2338:
2333:
2328:
2322:
2320:
2316:
2315:
2312:
2311:
2309:
2308:
2303:
2298:
2293:
2288:
2282:
2280:
2276:
2275:
2273:
2272:
2267:
2262:
2256:
2254:
2248:
2247:
2245:
2244:
2239:
2234:
2229:
2224:
2218:
2216:
2210:
2209:
2207:
2206:
2197:
2192:
2187:
2182:
2177:
2172:
2166:
2164:
2155:
2148:
2147:
2140:
2138:
2135:
2134:
2132:
2131:
2126:
2121:
2116:
2111:
2106:
2104:Mixed interval
2100:
2098:
2094:
2093:
2091:
2090:
2085:
2080:
2075:
2070:
2065:
2060:
2055:
2050:
2045:
2040:
2035:
2030:
2025:
2020:
2014:
2012:
2008:
2007:
2005:
2004:
1999:
1994:
1989:
1983:
1981:
1973:
1970:
1969:
1967:
1966:
1961:
1956:
1945:
1940:
1935:
1930:
1924:
1922:
1916:
1915:
1913:
1912:
1907:
1902:
1897:
1892:
1887:
1882:
1877:
1872:
1867:
1862:
1857:
1852:
1847:
1841:
1839:
1833:
1832:
1830:
1829:
1824:
1819:
1814:
1809:
1803:
1801:
1792:
1788:
1787:
1782:
1780:
1779:
1772:
1765:
1757:
1751:
1750:
1743:
1727:
1724:
1721:
1720:
1699:
1690:
1681:
1672:
1646:
1632:
1611:
1599:
1578:
1557:
1536:
1527:
1503:
1496:
1484:Piston, Walter
1475:
1450:
1442:Piston, Walter
1434:
1426:Piston, Walter
1418:
1409:
1400:
1379:
1358:
1337:
1328:
1319:
1310:
1295:
1274:
1252:
1251:
1249:
1246:
1245:
1244:
1235:
1230:
1224:
1215:
1206:
1200:
1189:
1186:
1181:
1178:
1165:
1162:
1146:. Rather than
1125:
1114:
1111:
1109:
1108:
1107:
1106:
1104:
1101:
1082:Baroque period
1078:
1077:
1067:
1064:
1062:
1034:Especially in
1032:
1031:
1024:
978:
977:
974:
957:or one of the
883:
872:
869:
867:
866:
865:
864:
860:, no. 3 (1893)
853:
842:
839:
837:
836:
835:
834:
832:
829:
828:
827:
817:
814:
812:
798:rhythm changes
758:
747:
744:
742:
732:
729:
727:
726:
725:
724:
720:Extended chord
715:
712:
647:borrowed chord
594:
583:
580:
578:
577:
576:
575:
573:
570:
569:
568:
558:
555:
553:
462:
451:
448:
446:
445:
444:
443:
441:
438:
416:
415:
405:
402:
400:
394:Symphony No. 1
382:
381:
371:
368:
366:
352:seventh chords
348:
347:
337:
334:
332:
317:
316:
306:
303:
301:
278:
275:
207:V7 of V in C,
206:
195:
192:
190:
189:
188:
187:
178:
175:
151:Baroque period
116:borrowed chord
59:
48:
45:
43:
42:
41:
40:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2724:
2713:
2710:
2708:
2705:
2703:
2700:
2698:
2695:
2694:
2692:
2678:
2668:
2665:
2663:
2660:
2658:
2655:
2653:
2650:
2648:
2645:
2643:
2640:
2638:
2635:
2633:
2630:
2626:
2623:
2622:
2621:
2618:
2616:
2613:
2611:
2608:
2606:
2605:Altered chord
2603:
2602:
2599:
2595:
2588:
2583:
2581:
2576:
2574:
2569:
2568:
2565:
2553:
2552:Voice leading
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2513:
2510:
2508:
2505:
2503:
2500:
2498:
2495:
2493:
2490:
2488:
2485:
2483:
2480:
2478:
2475:
2471:
2468:
2467:
2466:
2463:
2461:
2458:
2456:
2453:
2451:
2448:
2446:
2443:
2442:
2439:
2435:
2428:
2423:
2421:
2416:
2414:
2409:
2408:
2405:
2393:
2390:
2388:
2385:
2383:
2380:
2378:
2375:
2374:
2372:
2368:
2362:
2359:
2357:
2354:
2352:
2349:
2347:
2344:
2342:
2339:
2337:
2334:
2332:
2329:
2327:
2324:
2323:
2321:
2317:
2307:
2304:
2302:
2299:
2297:
2296:Primary triad
2294:
2292:
2289:
2287:
2284:
2283:
2281:
2277:
2271:
2268:
2266:
2263:
2261:
2258:
2257:
2255:
2253:
2249:
2243:
2240:
2238:
2235:
2233:
2230:
2228:
2225:
2223:
2220:
2219:
2217:
2215:
2211:
2205:
2201:
2198:
2196:
2193:
2191:
2188:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2168:
2167:
2165:
2163:
2159:
2156:
2154:
2149:
2144:
2130:
2127:
2125:
2122:
2120:
2117:
2115:
2112:
2110:
2107:
2105:
2102:
2101:
2099:
2095:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2041:
2039:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2016:
2015:
2013:
2009:
2003:
2000:
1998:
1995:
1993:
1990:
1988:
1985:
1984:
1982:
1976:
1971:
1965:
1962:
1960:
1957:
1955:
1946:
1944:
1941:
1939:
1936:
1934:
1931:
1929:
1926:
1925:
1923:
1921:
1917:
1911:
1908:
1906:
1903:
1901:
1898:
1896:
1893:
1891:
1888:
1886:
1883:
1881:
1878:
1876:
1873:
1871:
1868:
1866:
1863:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1842:
1840:
1838:
1834:
1828:
1825:
1823:
1820:
1818:
1815:
1813:
1810:
1808:
1805:
1804:
1802:
1800:
1796:
1793:
1789:
1785:
1778:
1773:
1771:
1766:
1764:
1759:
1758:
1755:
1748:
1744:
1742:
1741:3-89221-056-X
1738:
1734:
1730:
1729:
1725:
1717:
1713:
1709:
1703:
1700:
1694:
1691:
1685:
1682:
1676:
1673:
1669:
1668:0-415-97440-2
1665:
1661:
1655:
1653:
1651:
1647:
1641:
1639:
1637:
1633:
1629:
1625:
1622:, pp. 97–98.
1621:
1615:
1612:
1606:
1604:
1600:
1596:
1595:0-7935-7038-7
1592:
1588:
1582:
1579:
1575:
1574:9780826463227
1571:
1567:
1561:
1558:
1554:
1550:
1546:
1540:
1537:
1531:
1528:
1524:
1523:0-7866-5328-0
1520:
1516:
1510:
1508:
1504:
1499:
1493:
1489:
1485:
1479:
1476:
1471:
1467:
1463:
1459:
1454:
1451:
1447:
1443:
1438:
1435:
1431:
1427:
1422:
1419:
1413:
1410:
1404:
1401:
1397:
1396:0-13-033233-X
1393:
1389:
1383:
1380:
1376:
1375:0-634-08678-2
1372:
1368:
1362:
1359:
1355:
1354:9780415806657
1351:
1347:
1341:
1338:
1332:
1329:
1323:
1320:
1314:
1311:
1306:
1302:
1298:
1292:
1288:
1287:Tonal Harmony
1281:
1279:
1275:
1271:
1267:
1263:
1257:
1254:
1247:
1239:
1236:
1234:
1231:
1228:
1225:
1219:
1216:
1210:
1207:
1204:
1201:
1195:
1192:
1191:
1187:
1185:
1179:
1177:
1175:
1171:
1163:
1161:
1153:
1149:
1145:
1142:
1138:
1134:
1118:
1102:
1100:
1098:
1093:
1091:
1087:
1083:
1071:
1061:
1060:
1059:
1057:
1053:
1049:
1045:
1041:
1037:
1029:
1025:
1023:
1019:
1015:
1011:
1007:
1003:
1002:
1001:
999:
995:
991:
987:
983:
975:
972:
971:
970:
968:
964:
960:
956:
950:
946:
942:
938:
934:
929:
925:
924:
918:
914:
910:
906:
902:
898:
887:
876:
859:
846:
830:
821:
811:
810:
809:
807:
803:
799:
795:
791:
789:
785:
781:
777:
769:
765:
762:
751:
736:
721:
713:
711:
707:
698:
694:
690:
686:
685:Betty Everett
682:
678:
673:
671:
667:
663:
659:
655:
650:
648:
644:
640:
623:
618:
610:
606:
602:
598:
587:
571:
562:
552:
551:
550:
548:
544:
540:
536:
532:
528:
523:
521:
517:
513:
509:
505:
501:
500:Walter Piston
497:
495:
491:
487:
483:
479:
470:
466:
455:
439:
437:
435:
431:
427:
425:
421:
420:F major scale
409:
399:
398:
397:
395:
391:
387:
375:
365:
364:
363:
361:
357:
353:
341:
331:
330:
329:
325:
322:
310:
300:
299:
298:
296:
291:
288:
284:
276:
274:
272:
271:nonfunctional
266:
264:
260:
256:
255:
250:
246:
242:
238:
237:seventh chord
234:
231:) is a major
230:
226:
222:
218:
210:
199:
184:
176:
174:
172:
168:
167:popular music
164:
160:
156:
152:
147:
145:
141:
137:
133:
129:
125:
121:
117:
113:
108:
106:
102:
99:
96:: the use of
95:
91:
90:Western music
87:
83:
79:
75:
67:
63:
52:
37:
33:
19:
2702:Chromaticism
2666:
2594:Chromaticism
2547:Tonicization
2522:Polytonality
2517:Parallel key
2477:Figured bass
2469:
2251:
2200:Leading-tone
1977: /
1964:Tone cluster
1845:Leading-tone
1746:
1732:
1707:
1702:
1693:
1684:
1675:
1659:
1619:
1614:
1586:
1581:
1565:
1560:
1544:
1539:
1530:
1514:
1487:
1478:
1464:, edited by
1461:
1453:
1445:
1437:
1429:
1421:
1412:
1403:
1387:
1382:
1366:
1361:
1345:
1340:
1331:
1322:
1313:
1286:
1261:
1256:
1183:
1169:
1167:
1144:scale degree
1136:
1132:
1130:
1094:
1079:
1033:
979:
967:leading-tone
963:scale degree
951:and tonic).
940:
937:leading-tone
936:
928:tonicization
922:
919:). Like the
917:can be below
909:leading-tone
900:
897:music theory
894:
793:
792:
787:
775:
773:
674:
651:
639:jazz harmony
636:
526:
524:
519:
511:
503:
498:
494:Hugo Riemann
475:
428:
417:
383:
349:
326:
318:
292:
280:
267:
252:
245:scale degree
235:or dominant
228:
224:
220:
216:
214:
148:
140:scale degree
127:
123:
109:
105:tonicization
73:
71:
2625:Lament bass
2537:Sonata form
2502:Neotonality
2185:Subdominant
2048:Grandmother
1905:Nondominant
1885:Minor-major
1174:subdominant
886:Easy Living
784:tonic chord
759:A diatonic
666:turnarounds
654:bebop blues
283:major scale
263:modulations
136:minor triad
2691:Categories
2497:Modulation
2319:Techniques
2306:Substitute
2301:Subsidiary
2237:Neapolitan
2195:Submediant
2175:Supertonic
1948:Dominant 7
1938:Thirteenth
1870:Diminished
1822:Diminished
1547:, p. 198.
1470:alteration
1296:0072852607
1248:References
1148:tonicizing
1141:supertonic
1028:minor keys
1006:major keys
982:modulation
933:modulation
921:secondary
764:turnaround
656:and other
471:, mvmt. II
356:extensions
277:Definition
78:analytical
2336:Chordioid
2252:Secondary
2068:Petrushka
2002:Seven six
1959:Polychord
1827:Suspended
1817:Augmented
1589:, p. 43.
1517:, p. 62.
992:to these
856:Brahms's
761:I–vi–ii–V
677:Bob Dylan
486:Beethoven
478:J.S. Bach
465:Beethoven
390:Beethoven
101:functions
88:idiom of
2507:Ostinato
2434:Tonality
2377:Arpeggio
2291:Contrast
2227:Borrowed
2222:Approach
2204:Subtonic
2190:Dominant
2162:Diatonic
2153:function
2109:Secundal
2011:Specific
1951:♯
1933:Eleventh
1920:Extended
1860:Dominant
1486:(1987).
1460:(1954).
1444:(1941).
1428:(1933).
1369:, p.59.
1305:51613969
1238:Subtonic
1188:See also
1157:♯
949:dominant
945:resolves
941:dominant
923:dominant
780:resolves
601:arpeggio
434:analysis
321:dominant
124:function
98:diatonic
82:harmonic
2445:Cadence
2242:Passing
2214:Altered
2180:Mediant
2119:Quartal
2114:Tertian
2097:General
2083:Tristan
2078:So What
2038:Elektra
1979:omitted
1837:Seventh
1791:By form
1488:Harmony
1446:Harmony
1390:, p.5.
1172:is the
1099:music.
1097:ragtime
1048:tritone
1040:seventh
990:resolve
913:resolve
607:to the
599:cliché
543:cadence
527:Harmony
512:Harmony
508:virgule
440:History
424:F major
386:seventh
293:In the
241:resolve
112:altered
2392:Factor
2346:Guitar
2286:Common
2129:Tetrad
2073:Psalms
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1987:Sixth
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