Dominant (music) - Wikipedia
Dominant: Dominant, in music, the fifth tone or degree of a diatonic scale (i.e., any of The relationship between tonic and dominant keys (e.g., C major and G . Notice that the subdominant is the same distance below the tonic as the dominant is above it (a generic fifth). The prefix sub is Latin for “under” or “ beneath”. In music, the dominant is the fifth scale degree of the diatonic scale, called " dominant" because Put another way, it is the key whose tonic is the dominant scale degree in the main key. "Dominant" also refers to a relationship of musical keys. degree, which is a common tone between the tonic and dominant chords.
The key of G major is the dominant key since it is based on the dominant note for the key of C major.
In sonata form in major keys, the second subject group is usually in the dominant key. Almost all music in the eighteenth century went to the dominant: This means that every eighteenth-century listener expected the movement to the dominant in the sense that [one] would have been puzzled if [one] did not get it; it was a necessary condition of intelligibility.
These primary diatonic triads form the harmonic axis of tonal music. For example, relative to the key of C major, the key of G major is the dominant key. 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 scalewhich creates a sense of musical relaxation. The vast majority of harmonies designated as "essential" in the basic frame of structure must be I and V—the latter, when tonal music is viewed in broadest terms, an auxiliary support and embellishment of the former, for which it is the principal medium of tonicization.
According to the rules of tonal resolutionboth the leading-tone and the supertonic primarily resolve to the tonic.
These two tones resolving to the tonic are strengthened by the dominant scale degree, which is a common tone between the tonic and dominant chords.
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. When tonic and dominant with or without the 7th are alternated, there is no clear linear action created in the bass, so the dominant only when in root position requires no further explanation.
Tonic and Dominant Relationship and Perfect/Imperfect Authentic Cadences
In root position, this is located a 7th above the bass. In first inversion, it is located between the 6th and the 5th above the bass. In second inversion, it is located between the 4th and 3rd above the bass.
In third inversion, it is located a 2nd above the bass. Note that it is easy to remember the positions of 7th chords by simply counting backwards from 7 7 - 65 - 43 - 2.
This works exactly the same with both the dominant triad and tetrad. When leading tone is in the alto or tenor, this resolution is preferable but not mandatory.
The second inversion of dominant 7 can also serve as a neighbor chord to prolong the first inversion of tonic. Note that Roman numeral for tonic is not repeated at the beginning nor in the middle; the only change is the position, not the harmonic area. The leading tone triad is diminished, and is traditionally found in first inversion see Chapter On rare occasions the leading tone triad can be found in root position; this generally happens in thinner 2 or 3-voice instrumental music, and implies dominant 7 in first inversion minus the root: It is safe, however, to assume that the "normal" position of the leading tone triad is in first inversion and that root position is "abnormal".
In minor keys be careful not to confuse the leading tone triad which is diminished with the subtonic triad which is major. The subtonic will be discussed in Chapter Another way of saying this is the third inversion of dominant 7 must resolve to tonic in 1st inversion. This position of dominant 7 is frequently used as a neighbor chord to prolong the tonic.
It is possible for the bass to leap into either of these, but they still need to resolve, and to do so with a stepwise motion. These motions share a similarity to the neighbor motions described above: Incomplete neighbor chords occur relatively rarely.
It is important to spot an active scale degree in the bass, and for that pitch to resolve by step, in order to label this function. There are three primary possibilities: Instead of using dominant, the leading tone triad in first inversion can be used.Scale Degrees: Tonic, Supertonic, Dominant & All That Jazz
For the moment, perfect authentic cadences should be considered the norm, and should be used in written work. Imperfect authentic cadences will only be observed, in analysis work. They must occur between two sonorities that have the same or similar function. In a similar manner, incomplete neighbor chords must always move to a chord within the prolonged area.
While it is common to find tonic prolongations that begin with tonic, this is not always the case. It is possible for the tonic to appear later within the prolongation.
In certain circumstances, there might not be a tonic until later in the progression, but might have one at the beginning that is implied. Implied tonics will always be enclosed in parentheses, which makes the statement "this harmony is not supported by the counterpoint, but there is compelling evidence that it could be.
Never repeat the same Roman numeral back to back. The statement of a Roman numeral should always indicate that a harmonic change has taken place; if the same harmony is restated, the previous Roman numeral is still in effect.
The only exception to this is when a harmony ends a phrase, and then is also the beginning of the next phrase. In this context of two different phrases, it is appropriate to repeat the Roman numeral.
SOUND PATTERNS: Chapter Tonic and Dominant
Even if the sonority changes positions, do not rewrite the Roman numeral each time. A general rule of thumb is to use the lowest, most stable position rather than to show all the position changes.
In the example below, the first inversion of tonic on the second beat and the second inversion of dominant 7 on beat 4 do not add any new significant information, and in fact could disguise the large neighbor motion on beat 3. There is a common misconception that key signature always indicates the key; this is not true. Key signatures reveal the inventory of pitches being used, but that can be expanded with accidentals. There is only one accurate way to determine the key of a piece: Up to this point, examples have been in either C major or C minor.
In all subsequent chapters, a variety of key areas will be explored.
Authentic and half cadences reveal exactly what the key is since they are set formulas. Authentic cadences must end on tonic and must be preceded by a form of dominance. Half cadences must end on dominant, which must be major and in root position. In the example below, even though there is a key signature of no accidentals, it is clear that it is not in C major because of all the sharps.
Upon examination, the soprano and bass make it clear that it is in the key of E major, and is in fact exactly the same analysis as Scale degrees found in the bass line imply specific harmonic actions, as seen in the vocabulary chart below. The soprano line confirms this, and make it more specific.