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In music, the dominant is the fifth degree of the scale. For example, in the C major scale (white keys on a piano, starting with C), the dominant is the note G; and the dominant chord uses the notes G, B, and D. In music theory, the dominant chord is symbolized by the Roman numeral V if it is within the major mode (because it is a major triad, for example G-B-D in C major) or v if it is within the minor mode (because it is a minor triad, for example G-B♭-D in C minor, unless of course the B♭ is sharpened to B natural, as will often occur). Music is a form of expression in the medium of time using the structures of tones and silence. ...
Fifth means one part out of five (1/5, 0. ...
In music, a scale is a set of musical notes that provides material for part or all of a musical work. ...
In music theory, the major scale (or major mode) is one of the diatonic scales. ...
Fingering for a C-major trichord on a guitar in standard tuning (assuming all six strings are played). ...
Music theory is a field of study that involves an investigation of the many diverse elements of a music, including the development and methodology for analyzing, hearing, understanding, and composing music. ...
The system of Roman numerals is a numeral system originating in ancient Rome, and was adapted from Etruscan numerals. ...
In music or music theory, a triad is a tonal or diatonic tertian trichord. ...
In musical notation, a natural sign is a sign used to cancel a flat or sharp from either a preceding note or the key signature. ...
As defined by Joseph Fétis the dominante was a seventh chord over the first note of a descending perfect fifth in the basse fondamentale or root progression, the common practice period dominant seventh he named the dominante tonique. François-Joseph Fétis (March 25, 1784 — March 26, 1871), Belgian musicologist, composer, critic and teacher. ...
The root (basse fondamentale) of a chord is the note upon which that chord is perceived or labelled as built or centered, the root of a chord in root position or normal form. ...
A seventh chord is a chord or triad which has a note the seventh above the tonic in it. ...
A cadential dominant chord followed by a tonic chord (the chord of the key of the piece) produces an authentic cadence. If the roots are in the bass and the tonic is in the highest voice, it is a perfect authentic cadence. In Western musical theory a cadence (Latin cadentia, a falling) is a particular series of intervals or chords that ends a phrase, section, or piece of music. ...
The tonic is the first note of a musical scale, and in the tonal method of music composition it is extremely important. ...
In Western musical theory a cadence (Latin cadentia, a falling) is a particular series of intervals (a caesura) or chords that ends a phrase, section, or piece of music. ...
The root (basse fondamentale) of a chord is the note upon which that chord is perceived or labelled as built or centered, the root of a chord in root position or normal form. ...
This page is a candidate to be copied to Wiktionary. ...
In Western musical theory a cadence (Latin cadentia, a falling) is a particular series of intervals (a caesura) or chords that ends a phrase, section, or piece of music. ...
"Dominant" also refers to a relationship of musical keys. For example, relative to the key of C major, the key of G major is the dominant. Music which modulates (changes key) often modulates into the dominant. Modulation into the dominant key often creates a sense of increased tension; as opposed to modulation into subdominant (fourth note of the scale), which creates a sense of musical relaxation (because the tonic key is the dominant of its subdominant key: in F major, the dominant is C). In music, modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. ...
In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. ...
The dominant diatonic function has the role of creating instability that requires the tonic or goal-tone for release. The dominant may also be considered the result of a transformational operation applied to the tonic that most closely resembles the tonic by some clear-cut criteria such as common tones (Perle 1955 cited in Wilson 1992, p.37-38). A diatonic function, in tonal music theory, is the specific, recognized roles of notes or chords in relation to the key. ...
See also A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chords root. ...
Secondary dominants are a kind of chord used in musical harmony. ...
In the church modes of Gregorian chant the reciting tone (also dominant, tenor, tubae) is the melodic formula used for reciting psalm tones. ...
Gregorian chant is also known as plainchant or plainsong and is a form of monophonic, unaccompanied singing, which was developed in the Catholic Church, mainly during the period 800-1000. ...
This article is about modes as used in music. ...
Resources - Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality, p.143. Princeton University Press. ISBN 0691091358.
- Wilson, Paul (1992). The Music of Béla Bartók. ISBN 0300051115.
- Perle, George (1955). "Symmetrical Formations in the String Quartets of Béla Bartók", Music Review 16: 300-312.
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