Leading tone - Factbites

Leading tone - Factbites
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Topic: Leading tone

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	Leading-tone - Wikipedia, the free encyclopedia
		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 Ab leading to G, if C is tonic.
		In the 14th and 15th centuries, the leading-tone is created by the progression from imperfect to perfect consonances, such as a major third to a perfect fifth or minor third to a unison.
		In diatonic scales where there is a whole tone between the seventh scale degree and the tonic, such as the Mixolydian mode, the degree is the subtonic.
	en.wikipedia.org /wiki/Leading_tone (284 words)

	Aspects of Early Major-Minor Tonality: Chapter 3
		Because it is frequently employed with an orientation toward the tonic, the upward leading tone on the seventh degree is frequently conceived of as a tonic indicator, that is, as an element that identifies as tonic the note to which it is leading.
		Although the characterization of the upward leading tone as a tonic indicator may be a necessary aspect of major-minor tonality, this characterization would appear to be inconsistent with the use of the leading tone at the earliest stages of its use.
		It is perhaps the case that the decline in the use of the double-leading-tone cadence during the fifteenth century was related to the emergence of awareness of the tonic indicating potential of the leading tone.
	bama.ua.edu /~danderso/diss/chap3.htm (6355 words)

	MO01
		The leading tone instead of resolving to the tonic skips down a third to the dominant of the key.
		Leading tone goes to tonic; 7th of the chord goes to mediant.
		Also you will notice that the two notes which are involved in the tritone are the leading tone (3rd of the chord) and the subdominant (7th of the chord).
	www.odu.edu /al/wbartolo/mod32a.html (646 words)

	Augmented Sixth Chord Tutorial
		The leading tone ascends a minor second to the tonic in the Clausula Vera cadence and the lowered second scale step descends a minor second to the tonic in the Phrygian cadence.
		These two leading tones are never used together in the 16th century, but could definitely, according to W. Francis McBeth be a predecessor to the two leading tones to the dominant found in all augmented sixth chords.
		of the dominant leading tone and the dominant Phrygian leading tone.
	www.samford.edu /~rdremley/Tutorials/augmented6th/aug6th.html (435 words)

	101 Things You Can Do With A Diminished Seventh Chord
		In a common-tone resolution of a leading tone seventh, at least one chord tone is held in common with the chord of resolution while the other three notes of the seventh move by step.
		Sometimes a diminished seventh neither functions as a leading tone seventh nor resolves as a common tone seventh.
		41 is a common tone seventh; the one in m.
	www.lsu.edu /faculty/jperry/virtual_textbook/dim_7th.htm (547 words)

	NewComposer
		The third tone (3) in an ascending scale is called the mediant, which is half-way between the tonic (1) and the dominant (5).
		The first tone in a scale is called the tonic or 1, the tone representing the key center.
		The next most prominent tone after the tonic is the fifth tone of an ascending scale, called the dominant.
	courses.ncssm.edu /church/emusic/NewMusic/Composer/Scaletones.htm (378 words)

	Cadences
		The leading tone ascends by a whole step from the major sixth to the octave, or descends by a whole step from the minor third to the unison, as is apparent in the examples.
		For example, in the dorian mode, the leading tone would be a node a semitone lower than D, a sharp C as opposed to the natural C, and similarly in the other modes.
		As in the Phrygian cadence, the penultimate interval will naturally be a major sixth or minor third no coloration of the leading tone is permitted.
	www.pbm.com /~lindahl/almond/basse/paper/cadence.html (1101 words)

	MUS 111-112 Part-Writing Quick Reference Guidelines
		The 11th is retained as a common tone (tonic note), while the 7th and 9th resolve down to the 3rd and 5th of the tonic triad.
		Or, do not keep the common tone, especially when the soprano descends from scale step 2 to 1; move all three upper voices in similar motion to the nearest chord tone; the roots of both chords should be doubled.
		If the resolution tone is not present (rare), keep the 7th as a common tone, or move it as little as possible.
	spider.georgetowncollege.edu /music/burnette/partwriting.htm (1507 words)

	Temporal Masking Reveals Properties of Sound-Evoked Inhibition in Duration-Tuned Neurons of the Inferior Colliculus -- Faure et al. 23 (7): 3052 -- Journal of Neuroscience
		As the BD tone is moved to different temporal positions with regard to onset of the NE tone (black arrow), interaction between the two would be expected to result in spike suppression when the EPSP at the offset of the BD tone overlaps with the IPSP evoked by the onset of the NE tone.
		For 1-6 msec tones, the first spike latency tracked the offset of the stimulus; however, for 4-25 msec tones, the cell occasionally responded with spikes time-locked to the onset of the stimulus.
		The hypothesis was that increasing the amplitude of the BD tone
	www.jneurosci.org /cgi/content/full/23/7/3052 (10193 words)

	Seventh - Wikipedia, the free encyclopedia
		The leading tone or subtonic, and the chord built on the leading tone, is often called simply the seventh as it is the seventh scale degree.
		This is a disambiguation page: a list of articles associated with the same title.
	en.wikipedia.org /wiki/Seventh (114 words)

	music definitions
		Structural tones - The first, fourth, and fifth tones of the scale are the roots of the three primary triads: tonic, subdominant and dominant.
		Symmetrical relationship - Tones, chords or rhythms that bear some kind of equal relationship to one another, e.g., a passage of chords in which roots are related consistently by the interval of the third.
		Chord tone - One of the tones that constitute a chord.
	guitarsecrets.com /music_definitions.htm (3370 words)

	Music 30C - Homework Hints
		Although the applied leading tone E natural from the previous chord resolves correctly to an F in this chord, the root of this chord is not F. So it is a __?__ resolution of the previous chord.
		To get from V7 to I, if your leading tone is in an inner voice, and its normal note of resolution in the I chord fulfilled by a different voice, then you could drop the leading tone down to provide the fifth of the I chord.
		To go from V43/iv to iv, simply resolve the applied leading tone and the seventh properly, keep the common tone, and move the bass to the proper place.
	music.arts.uci.edu /dobrian/Music30C.hints.htm (1232 words)

	Scale and key
		The V chord, the tonicizing chord, requires this leading tone pitch to function properly.
		This way, a melody can approach the tonic with a leading tone, and the leading tone can be approached by step as well.
		Therefore, the only altered note is the seventh scale degree which is raised to form a leading tone.
	www.musictheoryresources.com /members/FA_scale.htm (989 words)

	110.progression.checklist.html
		In general, the leading tone should proceed to the tonic, especially in minor, unless there is a reason&emdash;which might well be to get a complete chord by making the leading tone jump down to a chord tone.
		These are less compelling than the leading tone, but making progressions which use their potential to move strongly by half step from above to the 3rd scale degree in major and the 5th degree in minor will lead you to many beautiful progressions.
		Alto and tenor complete the tones of the chord framed by the soprano and bass; their contour is less important than their role in connecting the chords.
	www.sonoma.edu /users/j/johnsonw/music_110/110_progchek.htm (1956 words)

	Major Minor Training Environment:Lesson 2
		Whichever tone was a half step from the tonic was called the leading tone (because it "led" directly to the tonic).
		The simplest way to fix this problem of the missing leading tone in the natural minor scale is to raise the seventh tone of the scale, so that in its new position it is a half step below the tonic, forming a leading tone.
		In tonal music, the leading tone is always the tone below the tonic.
	www.columbia.edu /ccnmtl/draft/kate/lesson2b/lesson2.html (1199 words)

	Popstart: Connecting Canadian Interdisciplinary Artists
		Leading Tone Arts Productions operates with a mandate to originate, develop, produce, perform and/or exhibit interdisciplinary works of art uniting all or some of: music, voice, theatre, dance and visual arts.
		Leading Tone Arts Productions Inc. is an innovative organization that inspires and educates people about the arts, recycling, resource conservation, cultural diversity, mythology and our environment.
		Leading Tone is currently applying for status as a Registered Charity.
	www.popstart.ca /english/showfull_e.php?id=46 (262 words)

	Circular Scales
		The leading tone seems unresolved unless it is followed by a note called the tonic or home tone.
		In the major scale, which does have a leading tone, some adjacent notes are a half-step interval apart, and other adjacent notes are a whole step interval apart.
		The relationship between the half-step intervals and the whole step intervals produces the leading tone in the major scales.
	www.exploratorium.edu /cmp/exhibits/c/circular_scales.html (178 words)

	Passing Tones
		For example, when experimenting with passing tones, they may become leading tones and therefore alter the chord qualities (as Ex 5 and 8 demonstrate).
		Generally, a passing tone is considered to be a scale tone between two chord tones.
		And, in a strict classical sense, passing tones are meant to be on “weak” beats.
	www.globalbass.com /archives/july2001/passing_tones.htm (413 words)

	Key Identifications
		You can hear how the raised leading tone in the second one (the b-naturals) cause the tonic chords to be strongly expected.
		Without any leading tones we could say that the third melody is in E-flat major.
		The third excerpt is that same minor key melody, but without the raised leading tones.
	www.geocities.com /npasupathi/0016.htm (1301 words)

	species_I.html
		Leading tone: the tone that forms a half-step when going to the cadence at the end of a phrase.
		Recurrences emphasize one particular tone, and the highest and lowest tones are already emphasized by being at the extremes of the melodic curve.
		The tone, Bb, in the "untransposed" system (no Bb in the signature) may be used occasionally to evade the tritone F-B and the Bb is always followed by A. c.
	www.minotaurz.com /minotaur/edu/CPT_species/species_I.html (2669 words)

	Music Theory: Melody: Voice Leading
		The seventh degree of a major, harmonic minor, or melodic minor scale is also called the leading tone, because it tends very strongly to lead to the tonic.
		Both passing tones and neighboring tones are terms derived from classical theory, which goes to great pains to put a name on every possible scenario for the use of dissonance or ornamentation.
		Whereas a passing tone is a dissonant note that connects two consonant ones in stepwise fashion, a neighboring tone is a dissonant note that separates a consonant note from a repetition of the consonant note, again using stepwise motion, but this time with a change in direction:
	www.outsideshore.com /school/music/almanac/html/Music_Theory/Melody/Voice_Leading.htm (1743 words)

	Tonic and Dominant Triads
		In a dominant triad, there is always that leading tone, the middle note, that "wants" to move up to the tonic.
		The middle note is the leading tone of the key.
		A leading tone is always a semitone, but you can see that the leading tone in this triad (the middle note) is a whole tone away from 'A'.
	projects.edtech.sandi.net /ofarrell/rkinne/myfiles/emt/WW212.html (774 words)

	MTO 10.2: Aarden and Hippel, Rules for Chord Doubling, 2.1.1
		It is worth observing, however, that avoiding the leading tone can also work to reinforce the sense of key, since the leading tone is the least common diatonic scale tone.
		This is apparently a phenomenological appeal, but Weidig also proposed that the thirds of all major triads are in fact leading tones, and should not be doubled because of their tendency to create bad voice-leading.
		The fifth of the triad is the next tone in the harmonic series, and the third is the last in the triad to appear.
	www.societymusictheory.org:16080 /mto/issues/mto.04.10.2/mto.04.10.2.aarden_hippel_2.1.1.html (998 words)

	accidentals3.htm
		While the flat was found to be useful for tritone correction and the downward leading tone, the sharp was used to allow for more upward leading tones.
		In early Western music, the note F was interpreted in two ways, either as representing the higher or lower tone, based on the context of the music.
		Although music written in Dorian employs only the note F for the third, representing the tone 32/27, in some contexts, particularly those involving G, the higher tone 81/64 may sound more suitable.
	www.ux1.eiu.edu /~cfaah/megastaff/accidentals3.htm (549 words)

	iBreatheMusic Forums - musical expressions confusion
		In this example, the B is the leading tone into the C but you also have a D# behaving like a leading tone into the E of the C chord.
		The B note from the G chord is a leading tone into the C of C Major.
		If you Play an A7 before the Dm, then the C# from the A7 becomes a Leading Tone into the D of the Dm thus making the illusion that Dm is now your tonal center.
	www.ibreathemusic.com /forums/showthread.php?t=7075 (728 words)

	Leading note
		Also called "leading tone"; the major seventh of a scale, so called because it lies a semitone below the tonic and "leads" towards it.
	www.music.vt.edu /musicdictionary/textl/Leadingnote.html (24 words)

	Popular Music Examples
		This is for three reasons; first, the root of this chord (B) is the leading tone to the tonic (C); second, the third of this chord (D) resolves down one halfstep to the tonic (C); and third, the fifth of this chord (F) resolves down one halfstep to the third above the tonic (E).
		One reason for this is that the root of the IV (F) is like a leading tone to the V (G), and the V follows it naturally.
		Chord leading is the concept that certain chords lead to other chords, that the progressions we see in popular music are not randomly chosen.
	laura.soydesign.net /music/pop.html (2175 words)

	High 3, high 3, is it good for me? - www.ezboard.com
		As far as the leading tone thing, that is one of my "things." If you are playing in the key of G, that F# ought to be really, really close to the G. That helps define the tonic.
		And when one is modulating, one should bump those leading tones close to the tonic of the key you are modulating to.
		But I think you'll find that by identifying the leading tones in your music and playing them high, your piece will sound better.
	www.cello.org /heaven/mbarchs/feb20/high3.htm (1561 words)

	MO01
		When the leading tone is approached from the tonic, it may go either up or down by step (8-7-6 or 8-7-8) or if it is in an inner voice, it may skip a third downward (8-7-5)
		When the leading tone is in the soprano (especially at the cadence), it goes up to the tonic (7-8)
		When the leading tone is the final note of an arpeggio, it returns to the tonic
	www.odu.edu /al/wbartolo/mod24a.html (332 words)

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