Search results
Results From The WOW.Com Content Network
Dominant chords are important to cadential progressions. In the strongest cadence, the authentic cadence (example shown below), the dominant chord is followed by the tonic chord. A cadence that ends with a dominant chord is called a half cadence or an "imperfect cadence".
In some jazz tunes, all or almost all of the chords that are used are dominant chords. For example, in the standard jazz chord progression ii–V–I, which would normally be Dm–G 7 –C in the key of C major, some tunes will use D 7 –G 7 –C 7. Since jazz tunes are often based on the circle of fifths, this creates long sequences of ...
Dominant seventh chords are often built on the fifth scale degree (or dominant) of a key. For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G 7 (shown above). In this chord, F is a minor seventh above G.
Approach chord; Chord names and symbols (popular music) Chromatic mediant; Common chord (music) Diatonic function; Eleventh chord; Extended chord; Jazz chord; Lead sheet; List of musical intervals; List of pitch intervals; List of musical scales and modes; List of set classes; Ninth chord; Open chord; Passing chord; Primary triad; Quartal chord ...
In music theory, a predominant chord (also pre-dominant [3]) is any chord which normally resolves to a dominant chord. [3] Examples of predominant chords are the subdominant (IV, iv), supertonic (ii, ii°), Neapolitan sixth and German sixth. [3] Other examples are the secondary dominant (V/V) and secondary leading tone chord.
Phrygian dominant: Mix. Mixolydian: Name Image Sound # of chords Quality 50s progression: I–vi–IV–V: 4: Major IV-V-I-VI IV-V-I-vi progression in C major : IV-V ...
A tonic chord has a dominant chord; in the key of C major, the tonic chord is C major and the dominant chord is G major or G dominant seventh. The dominant chord, especially if it is a dominant seventh, is heard by Western composers and listeners familiar with music as resolving (or "leading") to the tonic, due to the use of the leading note in ...
The starting point of Karlheinz Stockhausen's piece for vocal sextet, Stimmung (1968) [10] is a chord consisting of the notes B ♭, F, B ♭, D, A ♭ and C. [11] According to Nicholas Cook, [12] Stimmung could, in terms of conventional tonal harmony, be viewed as "simply a dominant ninth chord that is subject to timbral variation. The notes ...