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Topic: Tonic chord

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	Tonic (music) - Wikipedia, the free encyclopedia
		The triad formed on the tonic note, the tonic chord, is thus the most important chord.
		The tonic remains the same in these two different "modes," for a given key, wheareas scale degrees such as the third degree and the sixth degree are altered in the minor scale.
		A tonic may be considered a tonal center, while a pitch center functions referentially or contextually in an atonal context, often acting as axis or line of symmetry in an interval cycle (Samson 1977).
	en.wikipedia.org /wiki/Tonic_chord (257 words)

	tonal (Site not responding. Last check: 2007-10-14)
		The chord in a chord progression then describes which chord people "feel" is sounding, and not a chord which is necessarily sounded at the same time.
		To further describe chords, whether the roman numeral is capitalized or not describes whether the chord is a major chord, or a minor chord.
		The overwhelmingly common practice in tonal harmony is to have a dissonant chord built on V lead to the chord built on I. This is the basis of the "dominant-tonic" or "tonic-dominant" relationship.
	www.yourencyclopedia.net /Tonal.html (1516 words)

	Tonic chord Definition / Tonic chord Research (Site not responding. Last check: 2007-10-14)
		tonic chord is the chord of most stability and attraction in relation to other chords that surround it.
		tonic chord is the stable bedrock chord of the key.
		tonic chord is a fourth above, or a fifth below, the dominant, and that's the chord that the dominant wants to move toward.
	www.elresearch.com /Tonic_chord (253 words)

	Tonal (Site not responding. Last check: 2007-10-14)
		Chords, all triads, are also built upon, in a tertian manner, and named by the scale degree which acts as their root.
		Chords are then further named according to their quality or makeup, determined by the scale notes which lie a third and fifth (two thirds) above the degree achord is built upon.
		It does this throughestablishing a tonic, or central chord based on a pitch which is the lowest degree of a scale, and a somewhat flexible network ofrelations between any pitch or chord and the tonic similar to perspective inpainting.
	www.therfcc.org /tonal-89020.html (3113 words)

	Tonality (Site not responding. Last check: 2007-10-14)
		Chords are then further named according to their quality or makeup, determined by the scale notes which lie a third and fifth (two thirds) above the degree a chord is built upon.
		It does this through establishing a tonic, or central chord based on a pitch which is the lowest degree of a scale, and a somewhat flexible network of relations between any pitch or chord and the tonic similar to perspective in painting.
		In tonal music chords which are moved to different keys, or played with different root notes are not perceived as being the same, and thus transpositional equivalency and far less still inversional equivalency are not generally held to apply.
	www.worldhistory.com /wiki/T/Tonality.htm (3862 words)

	Jazz Education Article
		Tonic chords tend to represent a harmonic resting place; subdominant chords act as dominant preparation and, when paired with a dominant chord, help to clarify the key (for example, the pairing of IV with V or ii with V [Ex.
		Harmonies that act as embellishment (such as neighboring chords, passing chords, and incomplete neighboring chords) are non-functional; such chords, which are fundamentally linear, may emphasize functional chords in a progression but do not themselves contribute to the motion of the phrase as essential components of the progression.
		Although chord structures are generally familiar ones (tertian chords such as major-minor-seventh, major-major-seventh, minor-minor-seventh, or the like) and the familiar scale choices are available, there is greater freedom in the meaning that is conveyed by the placement of harmonies in a succession of chords.
	www.iaje.org /article.asp?ArticleID=57 (2934 words)

	chordalteration
		A chord which functions as a tonic represents closure and is typically built on the 1st degree of the scale.
		Typically the 5th of a ii chord might be lowered to bring a diminished quality to the minor 7th chord.
		Traveling, dominant, and tonic chords are placed in appropriate parts of the phrase to regulate the direction of the music and the relationships between tension and relaxation.
	hum.lss.wisc.edu /jazz/chordalterations.html (720 words)

	Chord Functions
		The minor major 7th chord typically is the tonic, or possibly the subdominant chord in a minor key area.
		This could be a tonic chord in a major key, or possibly another 7th chord, because you often have a chain of several 7th chords all a fourth higher (or a fifth lower) than the previous one.
		The chord is becoming enharmonically equivalent to a seventh chord a tritone away, that is, a semitone above the tonic.
	www.standingstones.com /chordfunc.html (757 words)

	Tonicization
		When referring to this non-diatonic chord, we call it a V/ii (read "five of two") chord and may also refer to it as a secondary dominant chord (since the diatonic dominant chord is the primary V chord).
		Notice that when minor triads are tonicized, they are normally preceded with the form of vii chord that is from minor keys (a vii fully diminished seventh chord), whereas major triads are commonly preceded with the form of vii chord from major keys (a vii half-diminished seventh chord).
		Notice how the Ab chord on the downbeat of measure 2 is normally labeled as simply a VI chord in c minor, but in the larger sense is the I chord of the whole Ab Major tonicization in that measure.
	www.smu.edu /totw/tonicize.htm (759 words)

	Music Theory: Harmony: Function And Resolution
		The tonic is the chord on which a progression feels as if it is complete, although it may occur at points other than the end as well.
		After the tonic, the next most important chord in establishing a sense of tonality is the dominant chord, built on the fifth degree of the scale.
		In a ii-V-I progression, note that the interval between the roots of the ii and V chords is a perfect fourth upwards, as is the interval between the roots of the V and I chords.
	www.outsideshore.com /school/music/almanac/html/Music_Theory/Harmony/Function_And_Resolution.htm (1459 words)

	music definitions
		Chord symbols identify the root of the chord in relation to the key center, as well as the quality.
		Tonic dominant axis - The tonality defining relationship governed by the tonic and dominant chords, whose roots are a perfect fifth apart.
		Tonicization - The emphasis of a particular diatonic chord by embellishing it with an altered chord that bears a dominant relationship to it.
	guitarsecrets.com /music_definitions.htm (3370 words)

	Plagal cadence (Site not responding. Last check: 2007-10-14)
		A chord progression where the subdominant chord is followed by the tonic chord (IV-I).
		The "IV" represents the chord based on the fourth step of the scale and the "I" represents the chord based on the first step of the scale.
		The subdominant to tonic progression (IV-I) is also known as an "Amen cadence" or "Church Cadence" because it is sung to the word Amen at the end of Protestant hymns.
	www.music.vt.edu /musicdictionary/textp/Plagalcadence.html (98 words)

	Tonic (music): Definition and links.
		The tonic is the first note of a scale.
		The tonic plays an important part in determining why music composed in a minor scale sounds different from music composed in a major scale.
		The answer is not obvious, when one realises that each minor scale has the same key signature and hence same set of notes as a major scale.
	www.encyclopedian.com /to/Tonic-chord.html (120 words)

	Rameau and the theory of harmony (Site not responding. Last check: 2007-10-14)
		Rameau's theories of the generation of chords from thirds, chord inversions and the fundamental bass, and the function of diatonic chords in major or minor keys, were considered great revelations in the science of music, and formed the backbone of the traditional methods of analysis for the music of the period between 1600 and 1900.
		His theories of the generation of chords from thirds, chord inversions and the fundamental bass, and the function of diatonic chords in major or minor keys, were considered great revelations in the science of music.
		In it Rameau supposes that the chord of the ninth is a seventh chord with a "supposed" bass a third below its fundamental bass, and that the chord of the eleventh is a seventh chord with a "supposed" bass a fifth below it's fundamental bass.
	www.mariotrane.com /pages/rameau.htm (2097 words)

	Tonic Chords
		Tonic Chords are chords of rest or resolution.
		Tonic chords avoid the use of the fourth scale-degree (fa) in their construction.
		chord, which does not support the first scale-degree (do), and thus is considered a weak tonic chord.
	www.franksinger.com /Amusic/tonic.htm (60 words)

	Chapter 9 - Secondary Triads
		The tonic chord is considered separately when describing chord progression because all chord progressions move toward the tonic.
		Chords generally change from weak to strong rhythmic position unless they are of long duration.
		The chord may be described as a dominant chord with an unresolved non-harmonic tone.
	www.tpub.com /harmony/24.htm (402 words)

	AllRefer.com - key, in music (Music: Theory, Forms, And Instruments) - Encyclopedia
		To say, for example, that a composition is in the key of C major means that it uses as its basic tonal material the tones of that scale which is associated with C major, and that its harmony employs the chords built on the tones of that scale.
		C is then the keynote, and the C major triad, or the notes CEG, the tonic chord of the composition.
		Modulation to another key may take place, but if there is a return to the original key the whole composition is said to be in the key of C. At the beginning of a composition, its key is usually indicated by a key signature (see musical notation).
	reference.allrefer.com /encyclopedia/K/key-mus.html (428 words)

	[No title] (Site not responding. Last check: 2007-10-14)
		It is called a C chord, because the C is the note from which the other tone emanate—are created by the overtones of C. It can be called a tonic chord, but only in the key of C, as it is built on the tonic note of the scale.
		Thus, to change a C major scale to c minor: the E (the 3rd of the I chord) is lowered to E flat the B (the 3rd of the V chord) is lowered to B flat the A (the 3rd of the IV chord) is lowered to A flat.
		The chord progression, V — I, using the leading tone 7th as the third of the V chord is so satisfyingly key-confirming and closure effecting that it is used to conclude (cadence in) all tonal music, whether in minor or major keys.
	www.cwu.edu /~music/theory/ScalesTriads.doc (3341 words)

	static harmony prolongation
		In this example the IV chords could be interpreted as simply the result of auxiliary notes and not functional chords in their own right: the G-sharp and B of the tonic chord ascending to form the A and C-sharp of the subdominant chords at bar 7, 8 and 9.
		In the 19th century harmonic possibilities are extended by the use of chords II and VI as tonic prolonging auxiliary chords.
		Note that since the II chord arises as a result of the auxiliary and passing notes in the accompanying harmony, the 7th of the chord is relieved of its normal obligation to resolve downward.
	www.harmony.org.uk /book/static_harmony_prolongation.htm (1021 words)

	Tonic and Dominant Triads
		A three-note chord in which one note is identified as the root, another as the 3rd and the other as the 5th.
		This is a three-note chord in which the bottom note is acting as the root, the middle one is the 3rd, and the top note is the 5th.
		That's what gives dominant chords their important place in traditional harmony: they help define the tonic chord in that manner.
	www.musictheory.halifax.ns.ca /15tdt.html (940 words)

	Unit 8b (Site not responding. Last check: 2007-10-14)
		Even though the two chords have different bass notes, they have two out of three of their tones in common.
		Especially in phrases where a continual repetition of chord I would become monotonous, chord VI, because of its close relationship to chord I, can substitute for I in the context of a tonic expansion.
		Using chord VI as a tonic substitute is also useful when using chord I in the middle of a phrase would lead to an unwanted sense of finality (ie.
	www.music.unimelb.edu.au /techcourse/techniques1-2/Unit-8/Unit8b.html (266 words)

	Dansm's Guitar Chord Theory: Chord-Leading (Site not responding. Last check: 2007-10-14)
		I know this was one of the most helpful aspects music theory for me. Chord leading is the most abstract theory that I cover, so please bear with me. Also, you might want to keep checking the image at the end, which explains all the fundamental leading principles explained in the text.
		For example, in the key of G, the dominant D chord contains D, F#, and A; the F# leads to the G. Obviously this does not mean that the dominant can only move to the tonic, it means that to end a piece of music, a V-I progression is a very good choice.
		This is because of an abstract theory idea: just as the dominant moves to the tonic, the second (which is the "dominant" of the dominant) moves toward the dominant.
	www.netsector.com /tony/guitar/leading.htm (686 words)

	Guitar Lesson 2 - Chord Construction Major Triad Tonic Note
		It is the tone (tonic) on which the scale is formed.
		The tonic note in the C major scale is a C note.
		The tonic note in the C chord is a C note.
	www.radioyur.com /les2.html (204 words)

	Elements of Music - Page 36
		The primary level of harmonic gravitational attraction is the attraction to the tonic chord.
		The dominant chord is strongly "pulled" towards the tonic chord and this resolution gives a strong sense of finality or "arrival" at certain points in musical structure.
		Observe: (1) the triad quality of these three triads is major in the major scale, (2) these three chords contain all of the notes of the scale of their tonality, (3) the central gravitational attraction to the tonal center is established by the root of these three primary triads.
	trumpet.sdsu.edu /m151/Elements_of_Music4h.html (460 words)

	Chords and Progressions for Jazz Guitar
		When the dominant chord sounds, it has a strong tendency to progress to the I chord, or the chord built on the first degree of the scale.
		This tonic chord is the same as chord that matches the name of the key.
		The F major chord would probably attract the most attention since it is not a diatonic chord in the key of A major.
	www.lovemusiclovedance.com /secondary_dominants.htm (1803 words)

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