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The Viennese theory, characterized by the use of Roman numerals to denote the chords of the tonal scale, as developed by Simon Sechter, Arnold Schoenberg, Heinrich Schenker and others, [7] practiced today in Western Europe and the United States. This theory in origin was not explicitly about tonal functions.
"All harmonic idioms in popular music are tonal, and none is without function." [4] [vague] Tonality is an organized system of tones (e.g., the tones of a major or minor scale) in which one tone (the tonic) becomes the central point for the remaining tones. The other tones in a tonal piece are all defined in terms of their relationship to the ...
The core of Westergaardian theory consists of the following two claims about notes: [5] Starting from a specific type of primitive structure (a diatonic collection with an associated " tonic " triad ; see below), we can generate all the notes of any tonal piece by successive application of a small set of operations.
The most fundamental concept of Schenker's theory of tonality may be that of tonal space. [74] The intervals between the notes of the tonic triad form a tonal space that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.
Here there is an unexpected link between Schenkerian theory and Riemann's theory of tonal functions, a fact that might explain Schenker's reluctance to be more explicit about it. In modern Schenkerian analysis, the chord of IV or II is often dubbed the "predominant" chord, as the chord that prepares the dominant one, and the progression may be ...
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Leading-tone triads and leading-tone seventh chords may also have dominant function. In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these.
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