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For example, the leading tone of alternating C chord and F minor chords is either the note E leading to F (if F is tonic), or A ♭ leading to G (if C is tonic). In works from the 14th- and 15th-century Western tradition, the leading tone is created by the progression from imperfect to perfect consonances, such as a major third to a perfect ...
F major is the home key of the English horn, the basset horn, the horn in F, the trumpet in F and the bass Wagner tuba. Thus, music in F major for these transposing instruments is written in C major. These instruments sound a perfect fifth lower than written, with the exception of the trumpet in F which sounds a fourth higher.
Lower mediant, midway between tonic and subdominant, (in major key) tonic of relative minor key F ♯ F 8-9 7 Subtonic (minor seventh) Mixolydian One whole step below tonic in natural minor scale. G 10 Leading tone (major seventh) Locrian: One half step below tonic. Melodically strong affinity for and leads to tonic G ♯ 11 1 Tonic (octave ...
F-sharp major is the key of the minuets in Haydn's "Farewell" Symphony and String Quartet Op. 76, no. 5, of Beethoven's Piano Sonata No. 24, Op. 78, Verdi's "Va, pensiero" from Nabucco, Mahler's unfinished Tenth Symphony, Korngold's Symphony Op. 40, and Scriabin's Fourth Piano Sonata.
In English as in German, the tonic is flanked on both sides by subtonic / supertonic, submediant / mediant and dominant / subdominant – the 7th degree being more usually known as the leading tone (or leading note) if it is a semitone under the tonic. (See the figure in Degree (music)#Major and minor scales);
In major and minor harmonies, the perfect fifth is often implied and understood by the listener even if it is not present. To function as a tonic, a chord must be either a major or a minor triad. Dominant function requires a major-quality triad with a root a perfect fifth above the affiliated tonic and containing the leading tone of the key.
Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor.
If it is major, the leading-tone chord may be either half-diminished or fully diminished, though fully diminished chords are used more often. [24] Because of their symmetry, secondary leading-tone diminished seventh chords are also useful for modulation; all four notes may be considered the root of any diminished