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.[1][2] In the movable do solfège system, the dominant note is sung as "So(l)".
In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these.
The scheme I-x-V-I symbolizes, though naturally in a very summarizing way, the harmonic course of any composition of the Classical period. This x, usually appearing as a progression of chords, 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.
As defined by the 19th century musicologist 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.[7]
Dominant chords are important to cadentialprogressions. In the strongest cadence, the authentic cadence (example shown below), the dominant chord is followed by the tonic chord. A cadence that ends with a dominant chord is called a half cadence or an "imperfect cadence".
Dominant keyedit
The key immediately clockwise is the dominant key of the key immediately counterclockwise, and features either one more sharp or one less flat.
The dominant key is the key whose tonic is a perfect fifth above (or a perfect fourth below) the tonic 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.[8] If, for example, a piece is written in the key of C major, then the tonic key is C major and the dominant key is G major since G is the dominant note in C major.[9]
"Essentially, there are two harmonic directions: toward I and toward V. These primary diatonic triads form the harmonic axis of tonal music."[10]
In sonata form in major keys, the second subject group is usually in the dominant key.
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 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.
Music which modulates (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 subdominant (fourth note of the scale), which 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.
The dominant is an important concept in Middle Eastern music. In the Persian Dastgah, Arabic maqam and the Turkish makam, scales are made up of trichords, tetrachords, and pentachords (each called a jins in Arabic) 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 Kurdish music and Bayati, the dominant is the fourth, and in maqam Saba, the dominant is the minor third. A maqam may have more than one dominant.
^Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p. 33. Seventh Edition. ISBN978-0-07-294262-0. "So called because its function is next in importance to the tonic."
^Forte, Allen (1979). Tonal Harmony (3rd ed.). Holt, Rinehart, and Wilson. p. 118. ISBN0-03-020756-8. V serves to establish the tonic triad...particularly evident at the cadence.
^Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality, p. 143. Princeton University Press. ISBN0-691-09135-8.
dominant, music, music, dominant, fifth, scale, degree, diatonic, scale, called, dominant, because, second, importance, first, scale, degree, tonic, movable, solfège, system, dominant, note, sung, source, audio, playback, supported, your, browser, download, au. 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 1 2 In the movable do solfege system the dominant note is sung as So l source Audio playback is not supported in your browser You can download the audio file C major scale and dominant triad source Audio playback is not supported in your browser You can download the audio file Chords with a dominant function dominant chords seventh ninth and dominant ninth and leading tone chords diminished half diminished seventh and diminished seventh 3 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 In very much conventionally tonal music harmonic analysis will reveal a broad prevalence of the primary often triadic harmonies tonic dominant and subdominant i e I and its chief auxiliaries a 5th removed and especially the first two of these Wallace Berry 1976 4 The scheme I x V I symbolizes though naturally in a very summarizing way the harmonic course of any composition of the Classical period This x usually appearing as a progression of chords 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 Rudolph Reti 1962 5 Contents 1 Dominant chords 2 Dominant key 3 In non Western music 4 See also 5 ReferencesDominant chords edit nbsp source Audio playback is not supported in your browser You can download the audio file C minor scale and dominant triad first with a subtonic nbsp and then with a leading tone nbsp 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 nbsp to nbsp creating a major chord These chords may also appear as seventh chords typically as a dominant seventh chord but occasionally in minor as a minor seventh chord v7 with passing function 6 nbsp As defined by the 19th century musicologist Joseph Fetis 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 7 Dominant chords are important to cadential progressions In the strongest cadence the authentic cadence example shown below the dominant chord is followed by the tonic chord A cadence that ends with a dominant chord is called a half cadence or an imperfect cadence nbsp source Audio playback is not supported in your browser You can download the audio file Dominant key edit nbsp The key immediately clockwise is the dominant key of the key immediately counterclockwise and features either one more sharp or one less flat The dominant key is the key whose tonic is a perfect fifth above or a perfect fourth below the tonic 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 8 If for example a piece is written in the key of C major then the tonic key is C major and the dominant key is G major since G is the dominant note in C major 9 nbsp Essentially there are two harmonic directions toward I and toward V These primary diatonic triads form the harmonic axis of tonal music 10 In sonata form in major keys the second subject group is usually in the dominant key 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 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 Charles Rosen 1972 11 Music which modulates 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 subdominant fourth note of the scale which 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 Berry 1976 4 In non Western music editThe dominant is an important concept in Middle Eastern music In the Persian Dastgah Arabic maqam and the Turkish makam scales are made up of trichords tetrachords and pentachords each called a jins in Arabic 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 Kurdish music and Bayati the dominant is the fourth and in maqam Saba the dominant is the minor third A maqam may have more than one dominant See also editPredominant chord Secondary dominant Secondary leading tone chord For use of the term dominant as a reciting tone in Gregorian chant see church modes Nondominant seventh chordReferences edit Benward amp Saker 2003 Music In Theory and Practice Vol I p 33 Seventh Edition ISBN 978 0 07 294262 0 So called because its function is next in importance to the tonic Forte Allen 1979 Tonal Harmony 3rd ed Holt Rinehart and Wilson p 118 ISBN 0 03 020756 8 V serves to establish the tonic triad particularly evident at the cadence Berry Wallace 1987 1976 Structural Functions in Music p 54 ISBN 0 486 25384 8 a b Berry 1987 p 62 Reti Rudolph 1962 Tonality in Modern Music p 28 quoted in Kostka amp Payne 1995 Tonal Harmony p 458 ISBN 0 07 035874 5 Kostka Stefan Payne Dorothy 2004 Tonal Harmony 5th ed Boston McGraw Hill pp 197 ISBN 0072852607 OCLC 51613969 Dahlhaus Carl Gjerdingen Robert O trans 1990 Studies in the Origin of Harmonic Tonality p 143 Princeton University Press ISBN 0 691 09135 8 Dominant Grove Music Online full citation needed DeVoto Mark Dominant Encyclopaedia Britannica Retrieved 22 May 2013 Forte 1979 p 103 Rosen Charles 1972 The Classical Style W W Norton Cited in White John D 1976 The Analysis of Music p 56 ISBN 0 13 033233 X Retrieved from https en wikipedia org w index php title Dominant music amp oldid 1210242331, wikipedia, wiki, book, books, library,
