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More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. 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 a song in C major, if a composer treats another key as the tonic (for example, the ii chord, D minor) for a short period by alternating between A7 (the notes A, C#, E and G) and D minor, and then returns to the tonic (C major), this is a tonicization of the key of D minor.
However, the tonic can be a different tone in the same scale, and then the work is said to be in one of the modes of that scale. [2] Simple folk music songs, as well as orchestral pieces, often start and end with the tonic note. The most common use of the term "tonality"
Methods that establish the key for a particular piece can be complicated to explain and vary over music history. [citation needed] However, the chords most often used in a piece in a particular key are those that contain the notes in the corresponding scale, and conventional progressions of these chords, particularly cadences, orient the listener around the tonic.
In music theory, the scale degree is the position of a particular note on a scale [1] relative to the tonic—the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor .
Another view of closely related keys is that there are six closely related keys, based on the tonic and the remaining triads of the diatonic scale, excluding the dissonant diminished triads. [7] Four of the six differ by one accidental, one has the same key signature, and one uses the parallel modal form.
The modulating dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V–V/V–V could be a pivot chord, modulating dominant, and quasi-tonic.
Both of the tonic substitute chords use notes from the tonic chord, which means that they usually support a melody originally designed for the tonic (I) chord. vi 7 as tonic substitute The relative major/minor substitution shares two common tones and is so called because it involves the relation between major and minor keys with the same key ...