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