216:
233:'s version of the theory, the three tonal functions are denoted by the letters T, D and S, for Tonic, Dominant and Subdominant respectively; the letters are uppercase for functions in major (T, D, S), lowercase for functions in minor (t, d, s). Each of these functions can in principle be fulfilled by three chords: not only the main chord corresponding to the function, but also the chords a third lower or a third higher, as indicated by additional letters. An additional letter P or p indicates that the function is fulfilled by the relative (German
198:. Riemann's direct inspiration was Moritz Hauptmann's dialectic description of tonality. Riemann described three abstract functions: the tonic, the dominant (its upper fifth), and the subdominant (its lower fifth). He also considered the minor scale to be the inversion of the major scale, so that the dominant was the fifth above the tonic in major, but below the tonic in minor; the subdominant, similarly, was the fifth below the tonic (or the fourth above) in major, and the reverse in minor.
173:. It was realized that three perfect major triads, distant from each other by a perfect fifth, produced the seven degrees of the major scale in one of the possible forms of just intonation: for instance, the triads FâAâC, CâEâG and GâBâD (subdominant, tonic, and dominant respectively) produce the seven notes of the major scale. These three triads were soon considered the most important chords of the major tonality, with the tonic in the center, the dominant above and the subdominant under.
395:
206:
261:
and minor are on the same degrees of the scale, the possible functions of triads on degrees I to VII of the scale could be summarized as in the table below (degrees II in minor and VII in major, diminished fifths in the diatonic scale, are considered as chords without fundamental). Chords on III and VI may exert the same function as those a third above or a third below, but one of these two is less frequent than the other, as indicated by parentheses in the table.
2136:
651:, or possibly believing that so-called linear theories have settled all earlier disputes. Yet this ongoing conflict between antithetical theories, with its attendant uncertainties and complexities, has special merits. In particular, whereas an English-speaking student may falsely believe that he or she is learning harmony "as it really is," the German student encounters what are obviously theoretical constructs and must deal with them accordingly.
717:
692:
36:
352:(major counterparallel of the minor tonic), are equally plausible. Other signs (not discussed here) are used to denote altered chords, chords without fundamental, applied dominants, etc. Degree VII in harmonic sequence (e.g. IâIVâVIIâIIIâVIâIIâVâI) may at times be denoted by its roman numeral; in major, the sequence would then be denoted by TâSâVIIâDpâTpâSpâDâT.
1179:, C. Abbate transl., Princeton, Princeton University Press, 1990, p. 224. Nattiez (or his translator, the quotation is not in the French edition) removed d'Indy's dualist idea according to which the chords are built from a major and a minor thirds, the major chord from bottom to top, the minor chord the other way around.
260:
The relation between triads a third apart resides in the fact that they differ from each other by one note only, the two other notes being common notes. In addition, within the diatonic scale, triads a third apart necessarily are of opposite mode. In the simplified theory where the functions in major
425:
among others, considers that each degree has its own function and refers to the tonal center through the cycle of fifths; it stresses harmonic progressions above chord quality. In music theory as it is commonly taught in the US, there are six or seven different functions, depending on whether degree
137:
of 1722. Even if the concept of harmonic function was not so named before 1893, it could be shown to exist, explicitly or implicitly, in many theories of harmony before that date. Early usages of the term in music (not necessarily in the sense implied here, or only vaguely so) include those by FĂ©tis
201:
Despite the complexity of his theory, Riemann's ideas had huge impact, especially where German influence was strong. A good example in this regard are the textbooks by
Hermann Grabner. More recent German theorists have abandoned the most complex aspect of Riemann's theory, the dualist conception of
120:
and others, practiced today in
Western Europe and the United States. This theory in origin was not explicitly about tonal functions. It considers the relation of the chords to their tonic in the context of harmonic progressions, often following the cycle of fifths. That this actually describes what
665:
Most North
American textbooks identify individual harmonies in terms of the scale degrees of their roots. ... Many theorists understand, however, that the Roman numerals do not necessarily define seven fully distinct harmonies, and they instead propose a classification of harmonies into three
104:
of 1893, which soon became an international success (English and
Russian translations in 1896, French translation in 1899), and which is the theory of functions properly speaking. Riemann described three abstract tonal "functions", tonic, dominant and subdominant, denoted by the letters T, D and S
682:
II, secondary (applied) dominants of the dominant (such as V/V), and the various "augmented-sixth" chords. ... The modern North
American adaptation of the function theory retains Riemannâs category of tonic and dominant functions but usually reconceptualizes his "subdominant" function into a
351:
In each case, the mode of the chord is denoted by the final letter: for instance, Sp for II in major indicates that II is the minor relative (p) of the major subdominant (S). The major VIth degree in minor is the only one where both functions, sP (major relative of the minor subdominant) and tG
105:
respectively, each of which could take on a more or less modified appearance in any chord of the scale. This theory, in several revised forms, remains much in use for the pedagogy of harmony and analysis in German-speaking countries and in North- and East-European countries.
877:(1893) to describe relations between the dominant and subdominant harmonies and the referential tonic: he borrowed the word from mathematics, where it was used to designate the correlation of two variables, an 'argument' and a 'value'". Brian Hyer, "Tonality",
1008:, Leipzig, 1853. Hauptmann saw the tonic chord as the expression of unity, its relation to the dominant and the subdominant as embodying an opposition to unity, and their synthesis in the return to the tonic. See David Kopp,
217:
965:, Rameau throws out a number of observations respecting the nature and functions of chords, which raise questions of the utmost importance for the theory of harmony". See also p. 201 (about harmonic functions in Rameau's
181:
theories which described not only the scale in just intonation as a symmetric construction, but also the minor tonality as an inversion of the major one. Dualist theories are documented from the 16th century onwards.
176:
This symmetric construction may have been one of the reasons why the fourth degree of the scale, and the chord built on it, were named "subdominant", i.e. the "dominant under ". It also is one of the origins of the
456:
The table below compares the
English and German terminologies for the major scale. In English, the names of the scale degrees are also the names of their function, and they remain the same in major and in minor.
673:
Dominant harmonies include the V and VII chords in their various positions. III can function as a dominant substitute in some contexts (as in the progression VâIIIâVI).
1312:
237:) of its main triad: for instance Tp for the minor relative of the major tonic (e.g., A minor for C major), tP for the major relative of the minor tonic (e.g. E
643:
Some may at first be put off by the overt theorizing apparent in German harmony, wishing perhaps that a choice be made once and for all between
Riemann's
202:
major and minor, and consider that the dominant is the fifth degree above the tonic, the subdominant the fourth degree, both in minor and in major.
940:, Williams and Norgate, 1954; Revised edition edited by Leonard Stein, Ernest Benn, 1969. Paperback edition, London, Faber and Faber, 1983.
639:
Note that ii, iii, and vi are lowercase: this indicates that they are minor chords; vii° indicates that this chord is a diminished triad.
688:
Caplin further explains that there are two main types of pre-dominant harmonies, "those built above the fourth degree of the scale (
2374:
797:
2040:
1288:
1280:
1258:
1224:
1058:
1033:
945:
924:
696:) in the bass voice and those derived from the dominant of the dominant (V/V)" (p. 10). The first type includes IV, II or
108:
The
Viennese theory, characterized by the use of Roman numerals to denote the chords of the tonal scale, as developed by
1940:
1607:
52:
17:
1340:
243:
major for c minor), etc. The other triad a third apart from the main one may be denoted by an additional G or g for
1857:
1767:
1872:
125:
of 1954, a short treatise dealing mainly with harmonic progressions in the context of a general "monotonality".
2283:
1882:
1867:
1502:
1476:
1472:
1468:
1433:
1429:
1425:
1412:
378:, depending whether the chord is composed of a minor third over a major third, or a major third over a minor;
153:
The idea of function has been extended further and is sometimes used to translate
Antique concepts, such as
2405:
2111:
1837:
961:, London, Novello, , p. 116, writes that "In the course of the second, third, and fourth books of the
1897:
1877:
1637:
980:
Les conceptions fonctionnelles de l'harmonie de J.-Ph. Rameau, Fr. J. FĂ©tis, S. Sechter et H. Riemann
752:
1862:
1887:
1694:
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2154:
1902:
1852:
1600:
1489:
776:
746:
734:
403:
1318:
886:
835:
2055:
2010:
1984:
1892:
1333:
722:
251:("counterrelative"), for instance tG for the major counterrelative of the minor tonic (e.g. A
178:
433:
stresses the individuality and independence of the seven harmonic degrees. Moreover, unlike
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2262:
2096:
1760:
1714:
1709:
130:
8:
1847:
1842:
1091:
1075:
230:
721:) functioning as the leading tone of the dominant: VII/V, VV, or the three varieties of
367:
chord; it alone is consonant because it alone generates a feeling of repose and balance;
2333:
2298:
2252:
1679:
758:
740:
1253:(New Perspectives in Music History and Criticism). Cambridge University Press (2003).
2224:
2145:
2080:
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1284:
1276:
1254:
1220:
1054:
1029:
941:
920:
716:
691:
564:
422:
418:
117:
113:
1301:
805:
661:
Reviewing usage of harmonic theory in
American publications, William Caplin writes:
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2229:
2182:
1967:
1814:
1724:
1632:
1455:
1326:
882:
831:
767:
708:
II. The second type groups harmonies which feature the raised-fourth scale degree (
575:
121:
could be termed the "function" of the chords becomes quite evident in Schoenberg's
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2116:
2060:
2020:
1994:
1935:
1819:
1809:
1753:
1674:
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Vereinfachte Harmonielehre, oder die Lehre von den tonalen Funktionen der Akkorde
1136:, seul consonnant, parce que, seul il donne la sensation de repos ou d'Ă©quilibre;
170:
1047:
Die Funktionstheorie Hugo Riemanns und ihre Bedeutung fĂŒr die praktische Analyse
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2379:
2219:
2214:
2121:
1925:
1912:
1642:
1357:
1349:
1244:. DĂŒsseldorf: Gesellschaft zur Förderung der systematischen Musikwissenschaft.
355:
As summarized by Vincent d'Indy (1903), who shared the conception of Riemann:
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2162:
2135:
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Eytan Agmon, "Functional Harmony Revisited: A Prototype-Theoretic Approach",
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109:
81:
851:, London, Gollancz, 1950, pp. 31-33, "Tonal Functions of the Scale Degrees".
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1989:
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1979:
1920:
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1719:
1684:
1669:
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1437:
550:
917:
Viennese Harmonic Theory from Albrecthsberger to Schenker and Schoenberg
902:, 6th edn, Leipzig, Breitkopf und HĂ€rtel, 1917, p. 214. See A. Rehding,
770: â elaboration of a principal harmonic chord in a chord progression
441:
leans heavily on the cycle of descending fifths IâIVâVIIâIIIâVIâIIâVâI".
2343:
2187:
2167:
1930:
1464:
1408:
1242:
System der Funktionsbezeichnung in den Harmonielehren seit Hugo Riemann
1024:
Dahlhaus, Carl (1990). "A Guide to the Terminology of German Harmony",
670:
Tonic harmonies include the I and VI chords in their various positions.
596:
501:
779: â Use of Roman numeral symbols in the musical analysis of chords
666:
main groups of harmonic functions: tonic, dominant, and pre-dominant.
2328:
1951:
1308:
1151:, suivant qu'il est engendré du grave à l'aigu ou de l'aigu au grave.
409:
The Viennese theory on the other hand, the "Theory of the degrees" (
2369:
2196:
2101:
1689:
1616:
1498:
1028:, trans. Gjerdingen, Robert O. (1990). Princeton University Press.
982:, Master Degree Thesis, Catholic University of Louvain, 1989, p. 3.
2172:
2106:
1627:
1421:
676:
Pre-dominant harmonies include a wide variety of chords: IV, II,
522:
399:
1124:, Paris, Durand, 1903, cited from the 6th edition, 1912, p. 116:
1098:, Kassel, BĂ€renreiter, 1976, 5th edition, 1985, pp. 282â283 and
437:, where the primary harmonic model is the IâIVâVâI progression,
383:
three different tonal functions, tonic, dominant, or subdominant
129:
Both theories find part of their inspiration in the theories of
1348:
169:
The concept of harmonic function originates in theories about
993:
Harmony Simplified or the Theory of Tonal Functions of Chords
140:
Traité complet de la théorie et de la pratique de l'harmonie
1585:
1353:
1175:
Translated (with some adaptation) in Jean-Jacques Nattiez,
1745:
1217:
Analyzing Classical Form. An Approach for the Class Room
755: â Diatonic seventh chord without dominant function
763:
Pages displaying short descriptions of redirect targets
1315:(Archive from 24 November 2010, accessed 28 May 2013).
1219:. Oxford and New York: Oxford University Press, 2013.
426:
VII is considered to possess an independent function.
1010:
Chromatic Transformations in Nineteenth-Century Music
702:
II, but also other positions of these, such as IV or
1251:
Hugo Riemann and the Birth of Modern Musical Thought
904:
Hugo Riemann and the Birth of Modern Musical Thought
862:
Hugo Riemann and the Birth of Modern Musical Thought
772:
Pages displaying wikidata descriptions as a fallback
749: â Terms in music theory to characterize scales
92:. Two main theories of tonal functions exist today:
909:
864:, New York, Cambridge University Press, 2003, p. 17
743: â Music composition and performance technique
873:"It was Riemann who coined the term 'function' in
451:
389:
80:) is a term used to denote the relationship of a
2397:
1307:Example of Music theory course description from
1177:Music and Discourse. Toward a Semiology of Music
737: â Music history period (c. 1650 to 1900)
45:needs attention from an expert in music theory
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1601:
1334:
1020:
1018:
1302:Unlocking the Mysteries of Diatonic Harmony
190:The term 'functional harmony' derives from
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1768:
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1608:
1594:
1341:
1327:
1026:Studies in the Origin of Harmonic Tonality
1015:
1012:, Cambridge University Press, 2002, p. 52.
867:
820:
683:more all-embracing pre-dominant function.
164:
1072:Beitrag zur durmolltonalen Harmonielehre
1051:Handbuch der funktionellen Harmonielehre
761: â Harmonic device in Western music
393:
204:
887:10.1093/gmo/9781561592630.article.28102
836:10.1093/gmo/9781561592630.article.10386
148:Notions élémentaires d'harmonie moderne
14:
2398:
55:may be able to help recruit an expert.
1749:
1589:
1322:
1006:Die Natur der Harmonik und der Metrik
1275:. W.W.Norton & Co. (1954, 1969)
1154:l'Accord est susceptible de revĂȘtir
29:
213:, Tp) in C major: CM and Am chords
24:
1234:
1111:Diether de la Motte (1976), p. 102
25:
2417:
1295:
402:with their respective triads and
194:and, more particularly, from his
2134:
1206:17/2 (Autumn 1995), pp. 202-203.
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1273:Structural Functions of Harmony
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1158:différentes, suivant qu'il est
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938:Structural Functions of Harmony
452:Comparison of the terminologies
209:Tonic and its relative (German
123:Structural Functions of Harmony
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841:
826:"Function", unsigned article,
790:
390:Viennese theory of the degrees
381:this chord is able to take on
13:
1:
1122:Cours de composition musicale
1074:, MĂŒnchen, Leipzig, 1931, or
783:
627:verkĂŒrzter Dominantseptakkord
542:Counterrelative of the tonic
96:The German theory created by
1615:
1082:, Kassel, BĂ€renreiter, 1976.
995:, London and New York, 1893.
540:Relative of the dominant or
514:Relative of the subdominant
7:
1139:l'Accord se manifeste sous
978:Anne-Emmanuelle Ceulemans,
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398:The seven scale degrees in
47:. The specific problem is:
10:
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1858:Dominant seventh flat five
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919:(Ann Arbor, London, 1985)
900:Handbuch der Harmonielehre
875:Vereinfachte Harmonielehre
102:Vereinfachte Harmonielehre
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1638:Consonance and dissonance
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1268:(1893). ASIN: B0017UOATO.
927:, pp. xi-xiii and passim.
753:Nondominant seventh chord
633:diagonally slashed D (Ä)
294:
1191:Viennese Harmonic Theory
186:German functional theory
53:WikiProject Music theory
2375:Chord names and symbols
1695:Otonality and utonality
1313:"Principles of harmony"
1156:trois fonctions tonales
2258:Secondary leading-tone
1304:www.artofcomposing.com
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777:Roman numeral analysis
747:Diatonic and chromatic
735:Common practice period
723:augmented sixth chords
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659:
609:Relative of the tonic
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406:
404:Roman numeral notation
226:
165:Origins of the concept
157:in Ancient Greece, or
1240:Imig, Renate (1970).
1204:Music Theory Spectrum
1143:différents, l'aspect
1125:
967:Génération harmonique
959:The Theory of Harmony
663:
641:
536:Tonika-Gegenparallele
463:Name of scale degree
428:
397:
257:major for C minor).
208:
76:(also referred to as
2263:Secondary supertonic
1715:Schenkerian analysis
1710:Progressive tonality
1271:Schoenberg, Arnold:
1249:Rehding, Alexander:
808:on 13 September 2021
798:"Harmonic Functions"
656:Robert O. Gjerdingen
510:Subdominantparallele
475:German abbreviation
472:English translation
133:, starting with his
131:Jean-Philippe Rameau
1092:Diether de la Motte
1076:Diether de la Motte
1070:See Wilhelm Maler,
1049:, Munich 1923, and
936:Arnold Schoenberg,
860:Alexander Rehding,
847:See Walter Piston,
469:Function in German
370:this chord has two
231:Diether de la Motte
161:in medieval Latin.
144:Esthétique musicale
2406:Diatonic functions
2334:Chord-scale system
2253:Secondary dominant
1653:Secondary function
879:Grove Music Online
828:Grove Music Online
759:Secondary dominant
741:Constant structure
563:Subdominant (also
413:), represented by
407:
245:Gegenparallelklang
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196:Harmony Simplified
142:, 1844), Durutte (
18:Functional harmony
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1289:978-0-393-02089-2
1281:978-0-393-00478-6
1259:978-0-521-82073-8
1225:978-0-19-974718-4
1189:Robert E. Wason,
1059:978-3-7649-2112-5
1045:Hermann Grabner,
1034:978-0-691-09135-8
957:Matthew Shirlaw,
946:978-0-571-13000-9
925:978-0-8357-1586-7
915:Robert E. Wason,
802:Open Music Theory
637:
636:
531:Dominantparallele
423:Arnold Schoenberg
419:Heinrich Schenker
349:
348:
146:, 1855), Loquin (
135:Traité d'harmonie
118:Heinrich Schenker
114:Arnold Schoenberg
78:harmonic function
70:
69:
16:(Redirected from
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1873:Diminished major
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2056:Northern lights
2021:Complexe sonore
1999:
1985:Augmented sixth
1973:
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1943:
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1936:Upper structure
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1893:Altered seventh
1888:Augmented minor
1883:Augmented major
1868:Half-diminished
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1665:Just intonation
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791:
786:
771:
762:
731:
714:
710:
709:
704:
703:
698:
697:
689:
678:
677:
658:
655:
605:Tonikaparallele
541:
534:
454:
448:
445:
392:
376:major and minor
372:different forms
253:
252:
239:
238:
218:
215:
214:
188:
171:just intonation
167:
66:
60:
57:
51:
39:
35:
28:
23:
22:
15:
12:
11:
5:
2419:
2409:
2408:
2391:
2390:
2388:
2387:
2382:
2380:List of chords
2377:
2372:
2366:
2364:
2360:
2359:
2357:
2356:
2351:
2346:
2341:
2336:
2331:
2326:
2321:
2315:
2313:
2309:
2308:
2305:
2304:
2302:
2301:
2296:
2291:
2286:
2281:
2275:
2273:
2269:
2268:
2266:
2265:
2260:
2255:
2249:
2247:
2241:
2240:
2238:
2237:
2232:
2227:
2222:
2217:
2211:
2209:
2203:
2202:
2200:
2199:
2190:
2185:
2180:
2175:
2170:
2165:
2159:
2157:
2148:
2141:
2140:
2133:
2131:
2128:
2127:
2125:
2124:
2119:
2114:
2109:
2104:
2099:
2097:Mixed interval
2093:
2091:
2087:
2086:
2084:
2083:
2078:
2073:
2068:
2063:
2058:
2053:
2048:
2043:
2038:
2033:
2028:
2023:
2018:
2013:
2007:
2005:
2001:
2000:
1998:
1997:
1992:
1987:
1982:
1976:
1974:
1966:
1963:
1962:
1960:
1959:
1954:
1949:
1938:
1933:
1928:
1923:
1917:
1915:
1909:
1908:
1906:
1905:
1900:
1895:
1890:
1885:
1880:
1875:
1870:
1865:
1860:
1855:
1850:
1845:
1840:
1834:
1832:
1826:
1825:
1823:
1822:
1817:
1812:
1807:
1802:
1796:
1794:
1785:
1781:
1780:
1773:
1772:
1765:
1758:
1750:
1741:
1740:
1738:
1737:
1732:
1727:
1722:
1717:
1712:
1707:
1702:
1697:
1692:
1687:
1682:
1677:
1672:
1667:
1662:
1657:
1656:
1655:
1645:
1643:Diatonic scale
1640:
1635:
1630:
1624:
1621:
1620:
1613:
1612:
1605:
1598:
1590:
1581:
1580:
1576:
1575:
1557:
1539:
1536:
1533:
1515:
1512:
1508:
1507:
1496:
1494:
1483:
1481:
1462:
1460:
1453:
1451:
1444:
1442:
1419:
1417:
1406:
1404:
1397:
1394:
1393:
1390:
1387:
1384:
1381:
1378:
1375:
1365:
1362:
1361:
1358:diatonic scale
1346:
1345:
1338:
1331:
1323:
1317:
1316:
1305:
1297:
1296:External links
1294:
1293:
1292:
1269:
1262:
1247:
1236:
1233:
1230:
1229:
1208:
1195:
1182:
1172:
1171:
1168:Sous-dominante
1152:
1137:
1130:un seul accord
1113:
1104:
1084:
1063:
1038:
1014:
1004:M. Hauptmann,
997:
991:Hugo Riemann,
984:
971:
950:
929:
908:
898:Hugo Riemann,
891:
866:
853:
840:
819:
788:
787:
785:
782:
781:
780:
774:
765:
756:
750:
744:
738:
730:
727:
685:
684:
674:
671:
653:
647:and the older
635:
634:
631:
629:
624:
621:
614:
613:
610:
607:
602:
599:
593:
592:
589:
586:
581:
578:
572:
571:
568:
561:
556:
553:
547:
546:
543:
538:
528:
525:
519:
518:
515:
512:
507:
504:
498:
497:
494:
491:
486:
483:
477:
476:
473:
470:
467:
466:Roman numeral
464:
453:
450:
443:
391:
388:
387:
386:
379:
368:
359:There is only
347:
346:
343:
340:
337:
334:
331:
328:
325:
321:
320:
317:
314:
311:
308:
305:
302:
299:
296:
292:
291:
288:
285:
282:
279:
276:
273:
270:
267:
187:
184:
166:
163:
150:, 1862), etc.
127:
126:
106:
68:
67:
42:
40:
33:
26:
9:
6:
4:
3:
2:
2418:
2407:
2404:
2403:
2401:
2386:
2383:
2381:
2378:
2376:
2373:
2371:
2368:
2367:
2365:
2361:
2355:
2352:
2350:
2347:
2345:
2342:
2340:
2337:
2335:
2332:
2330:
2327:
2325:
2322:
2320:
2317:
2316:
2314:
2310:
2300:
2297:
2295:
2292:
2290:
2289:Primary triad
2287:
2285:
2282:
2280:
2277:
2276:
2274:
2270:
2264:
2261:
2259:
2256:
2254:
2251:
2250:
2248:
2246:
2242:
2236:
2233:
2231:
2228:
2226:
2223:
2221:
2218:
2216:
2213:
2212:
2210:
2208:
2204:
2198:
2194:
2191:
2189:
2186:
2184:
2181:
2179:
2176:
2174:
2171:
2169:
2166:
2164:
2161:
2160:
2158:
2156:
2152:
2149:
2147:
2142:
2137:
2123:
2120:
2118:
2115:
2113:
2110:
2108:
2105:
2103:
2100:
2098:
2095:
2094:
2092:
2088:
2082:
2079:
2077:
2074:
2072:
2069:
2067:
2064:
2062:
2059:
2057:
2054:
2052:
2049:
2047:
2044:
2042:
2039:
2037:
2034:
2032:
2029:
2027:
2024:
2022:
2019:
2017:
2014:
2012:
2009:
2008:
2006:
2002:
1996:
1993:
1991:
1988:
1986:
1983:
1981:
1978:
1977:
1975:
1969:
1964:
1958:
1955:
1953:
1950:
1948:
1939:
1937:
1934:
1932:
1929:
1927:
1924:
1922:
1919:
1918:
1916:
1914:
1910:
1904:
1901:
1899:
1896:
1894:
1891:
1889:
1886:
1884:
1881:
1879:
1876:
1874:
1871:
1869:
1866:
1864:
1861:
1859:
1856:
1854:
1851:
1849:
1846:
1844:
1841:
1839:
1836:
1835:
1833:
1831:
1827:
1821:
1818:
1816:
1813:
1811:
1808:
1806:
1803:
1801:
1798:
1797:
1795:
1793:
1789:
1786:
1782:
1778:
1771:
1766:
1764:
1759:
1757:
1752:
1751:
1748:
1736:
1735:Voice leading
1733:
1731:
1728:
1726:
1723:
1721:
1718:
1716:
1713:
1711:
1708:
1706:
1703:
1701:
1698:
1696:
1693:
1691:
1688:
1686:
1683:
1681:
1678:
1676:
1673:
1671:
1668:
1666:
1663:
1661:
1658:
1654:
1651:
1650:
1649:
1646:
1644:
1641:
1639:
1636:
1634:
1631:
1629:
1626:
1625:
1622:
1618:
1611:
1606:
1604:
1599:
1597:
1592:
1591:
1588:
1573:(Major/Minor)
1555:(Major/Minor)
1540:
1537:
1534:
1531:(Major/Minor)
1516:
1513:
1510:
1509:
1505:
1504:
1500:
1495:
1492:
1491:
1487:
1482:
1479:
1478:
1474:
1470:
1466:
1461:
1458:
1457:
1452:
1449:
1448:
1443:
1440:
1439:
1435:
1431:
1427:
1423:
1418:
1415:
1414:
1410:
1405:
1402:
1401:
1396:
1395:
1388:
1385:
1382:
1379:
1376:
1373:(Major/Minor)
1369:
1368:
1363:
1359:
1355:
1351:
1344:
1339:
1337:
1332:
1330:
1325:
1324:
1321:
1314:
1310:
1306:
1303:
1300:
1299:
1290:
1286:
1282:
1278:
1274:
1270:
1267:
1263:
1260:
1256:
1252:
1248:
1246:
1243:
1239:
1238:
1226:
1222:
1218:
1212:
1205:
1199:
1192:
1186:
1180:
1178:
1169:
1165:
1161:
1157:
1153:
1150:
1146:
1142:
1138:
1135:
1131:
1128:il n'y a qu'
1127:
1126:
1123:
1117:
1108:
1101:
1097:
1096:Harmonielehre
1093:
1088:
1081:
1080:Harmonielehre
1077:
1073:
1067:
1060:
1056:
1052:
1048:
1042:
1035:
1031:
1027:
1021:
1019:
1011:
1007:
1001:
994:
988:
981:
975:
968:
964:
960:
954:
947:
943:
939:
933:
926:
922:
918:
912:
905:
901:
895:
888:
884:
880:
876:
870:
863:
857:
850:
844:
837:
833:
829:
823:
807:
803:
799:
793:
789:
778:
775:
769:
766:
760:
757:
754:
751:
748:
745:
742:
739:
736:
733:
732:
726:
724:
718:
693:
675:
672:
669:
668:
667:
662:
652:
650:
649:Stufentheorie
646:
640:
632:
630:
628:
625:
622:
619:
616:
615:
611:
608:
606:
603:
600:
598:
595:
594:
590:
587:
585:
582:
579:
577:
574:
573:
569:
566:
562:
560:
557:
554:
552:
549:
548:
544:
539:
537:
532:
529:
526:
524:
521:
520:
516:
513:
511:
508:
505:
503:
500:
499:
495:
492:
490:
487:
484:
482:
479:
478:
474:
471:
468:
465:
462:
461:
458:
442:
440:
439:Stufentheorie
436:
432:
431:Stufentheorie
427:
424:
420:
416:
415:Simon Sechter
412:
411:Stufentheorie
405:
401:
396:
384:
380:
377:
373:
369:
366:
362:
358:
357:
356:
353:
344:
341:
338:
335:
332:
329:
326:
323:
322:
318:
315:
312:
309:
306:
303:
300:
297:
293:
289:
286:
283:
280:
277:
274:
271:
268:
266:
265:
262:
258:
250:
246:
236:
232:
221:
212:
207:
203:
199:
197:
193:
183:
180:
174:
172:
162:
160:
156:
151:
149:
145:
141:
136:
132:
124:
119:
115:
111:
110:Simon Sechter
107:
103:
99:
95:
94:
93:
91:
87:
83:
79:
75:
64:
54:
50:
46:
43:This article
41:
32:
31:
19:
2193:Leading-tone
1970: /
1957:Tone cluster
1838:Leading-tone
1730:Tonicization
1705:Polytonality
1700:Parallel key
1660:Figured bass
1647:
1497:
1486:Leading-tone
1484:
1463:
1454:
1445:
1420:
1407:
1398:
1272:
1265:
1250:
1245:
1241:
1216:
1211:
1203:
1198:
1190:
1185:
1176:
1174:
1167:
1163:
1159:
1155:
1148:
1147:et l'aspect
1144:
1141:deux aspects
1140:
1133:
1129:
1121:
1116:
1107:
1099:
1095:
1087:
1079:
1071:
1066:
1050:
1046:
1041:
1025:
1009:
1005:
1000:
992:
987:
979:
974:
966:
962:
958:
953:
937:
932:
916:
911:
903:
899:
894:
878:
874:
869:
861:
856:
848:
843:
827:
822:
810:. Retrieved
806:the original
801:
792:
687:
664:
660:
648:
644:
642:
638:
626:
604:
583:
565:Pre-dominant
559:Subdominante
558:
535:
530:
509:
488:
455:
438:
434:
430:
429:
410:
408:
382:
375:
371:
364:
360:
354:
350:
259:
248:
244:
234:
228:
210:
200:
195:
192:Hugo Riemann
189:
175:
168:
158:
154:
152:
147:
143:
139:
134:
128:
122:
101:
98:Hugo Riemann
90:tonal centre
86:scale degree
77:
73:
71:
58:
48:
44:
27:Musical term
2178:Subdominant
2041:Grandmother
1898:Nondominant
1878:Minor-major
1720:Sonata form
1685:Neotonality
1447:Subdominant
1132:, l'Accord
551:Subdominant
446:Eytan Agmon
61:August 2021
2312:Techniques
2299:Substitute
2294:Subsidiary
2230:Neapolitan
2188:Submediant
2168:Supertonic
1941:Dominant 7
1931:Thirteenth
1863:Diminished
1815:Diminished
1680:Modulation
1465:Submediant
1409:Supertonic
1227:. pp. 1â2.
784:References
597:Submediant
502:Supertonic
333:tP / (dG)
316:Tp / (Sg)
307:Dp / (Tg)
249:Gegenklang
72:In music,
2329:Chordioid
2245:Secondary
2061:Petrushka
1995:Seven six
1952:Polychord
1820:Suspended
1810:Augmented
1392:vii / VII
1380:iii / III
1354:functions
1309:Juilliard
1193:, p. xii.
1164:Dominante
588:Dominant
584:Dominante
361:one chord
324:in minor
298:in major
295:Function
2400:Category
2370:Arpeggio
2284:Contrast
2220:Borrowed
2215:Approach
2197:Subtonic
2183:Dominant
2155:Diatonic
2146:function
2102:Secundal
2004:Specific
1944:♯
1926:Eleventh
1913:Extended
1853:Dominant
1690:Ostinato
1617:Tonality
1568:♭
1562:♮
1550:♭
1544:♮
1526:♭
1520:♮
1499:Subtonic
1456:Dominant
906:, p. 51.
729:See also
711:♯
705:♭
699:♭
679:♭
654:â
576:Dominant
444:â
342:sP / tG
254:♭
240:♭
235:Parallel
211:Parallel
159:qualitas
74:function
2235:Passing
2207:Altered
2173:Mediant
2112:Quartal
2107:Tertian
2090:General
2076:Tristan
2071:So What
2031:Elektra
1972:omitted
1830:Seventh
1784:By form
1628:Cadence
1422:Mediant
1389:vi / VI
1383:IV / iv
1377:ii / ii
1356:of the
1350:Degrees
1160:Tonique
1134:parfait
849:Harmony
620:(note)
618:Leading
523:Mediant
400:C major
365:perfect
330:
319:
310:S<l
269:Degree
179:dualist
155:dynamis
100:in his
2385:Factor
2339:Guitar
2279:Common
2122:Tetrad
2066:Psalms
2051:Mystic
2036:Farben
2016:Bridge
1990:Lydian
1777:Chords
1287:
1279:
1257:
1223:
1149:mineur
1145:majeur
1100:passim
1057:
1032:
963:Traité
944:
923:
545:Dp/Tg
493:Tonic
489:Tonika
2363:Other
2354:Slash
2349:Power
2324:Block
2319:Barre
2272:Other
2163:Tonic
2046:Magic
2026:Dream
2011:Alpha
1980:Sixth
1968:Added
1921:Ninth
1848:Minor
1843:Major
1805:Minor
1800:Major
1792:Triad
1400:Tonic
1386:V / v
1370:I / i
812:7 May
623:vii°
481:Tonic
88:to a
84:or a
82:chord
2344:Open
1438:(Sp)
1352:and
1285:ISBN
1277:ISBN
1255:ISBN
1221:ISBN
1055:ISBN
1030:ISBN
942:ISBN
921:ISBN
814:2021
527:iii
421:and
363:, a
290:VII
278:III
219:Play
2144:By
1670:Key
1565:/ B
1547:/ A
1523:/ E
1477:tCp
1430:Tkp
1166:ou
883:doi
832:doi
612:Tp
601:vi
555:IV
533:or
517:Sp
506:ii
345:dP
304:Sp
287:VI
281:IV
275:II
247:or
229:In
2402::
2195:/
1503:dP
1490:DÌž
1475:,
1473:sP
1471:,
1469:Tp
1436:,
1434:tP
1432:,
1428:,
1426:Dp
1413:Sp
1311::
1283:,
1162:,
1094:,
1078:,
1017:^
969:).
881:,
830:,
800:.
725:.
591:D
580:V
570:S
567:)
496:T
485:I
417:,
374:,
339:d
336:s
327:t
313:D
301:T
284:V
272:I
116:,
112:,
1947:9
1769:e
1762:t
1755:v
1609:e
1602:t
1595:v
1559:B
1541:A
1538:G
1535:F
1517:E
1514:D
1511:C
1342:e
1335:t
1328:v
1291:.
1261:.
1170:.
1102:.
1061:.
1036:.
948:.
889:.
885::
838:.
834::
816:.
385:.
225:.
138:(
63:)
59:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
