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The consonance and dissonance of different intervals plays an important role in establishing the tonality of a piece or section in common practice music and popular music. For example, for a simple folk music song in the key of C Major, almost all of the triadic chords in the song will be Major or minor chords which are stable and consonant (e ...
Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. The style of voice leading will depend on the performing medium; for example, singing a large leap may be harder than playing it on piano.
The pitches used in a V/ii in this example include the notes A, C# and E (creating an A major chord). In the key of D minor, an A major chord is the dominant chord. In the key of C major, C sharp is an accidental. One can often find examples of tonicization by looking for accidentals, as there are always accidentals involved in tonicization.
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music. Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale. [1]
Leading-tone seventh chords were not characteristic of Renaissance music but are typical of the Baroque and Classical period. They are used more freely in Romantic music but began to be used less in classical music as conventions of tonality broke down. They are integral to ragtime and contemporary popular and jazz music genres. [25]
The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic degrees is voice leading. [ 1 ] The upper voice of a fundamental structure, which is the fundamental line, utilizes the descending direction; the lower voice, which is the bass arpeggiation through the ...
The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Antokoletz, Elliott. 1984. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley and Los Angeles: University of California Press. ISBN 9780520067479. Antokoletz, Elliott. 2004.
In the Schuman example (Three Score Set for Piano), the inversions of the chords suggest a bichordal effect. [ 3 ] In the example on the top right, we see a series of quartal chords in parallel motion, in which the intervallic relationship between each consecutive chord member, in this case a minor second , is consistent.
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