Circle of fifthsIn music theory, the circle of fifths is a way of organizing the 12 chromatic pitches as a sequence of perfect fifths. (This is strictly true in the standard 12-tone equal temperament system — using a different system requires one interval of diminished sixth to be treated as a fifth). If C is chosen as a starting point, the sequence is: C, G, D, A, E, B (=C), F (=G), C (=D), A, E, B, F. Continuing the pattern from F returns the sequence to its starting point of C. This order places the most closely related key signatures adjacent to one another.
Dominant (music)In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the dominant because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)". The triad built on the dominant note is called the dominant chord. This chord is said to have dominant function, which means that it creates an instability that requires the tonic for resolution. Dominant triads, seventh chords, and ninth chords typically have dominant function.
Key (music)In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music. Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale. A particular key features a tonic note and its corresponding chords, also called a tonic or tonic chord, which provides a subjective sense of arrival and rest, and also has a unique relationship to the other pitches of the same key, their corresponding chords, and pitches and chords outside the key.
CadenceIn Western musical theory, a cadence (Latin cadentia, "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives.
Chromatic scaleThe chromatic scale (or twelve-tone scale) is a set of twelve pitches (more completely, pitch classes) used in tonal music, with notes separated by the interval of a semitone. Chromatic instruments, such as the piano, are made to produce the chromatic scale, while other instruments capable of continuously variable pitch, such as the trombone and violin, can also produce microtones, or notes between those available on a piano. Most music uses subsets of the chromatic scale such as diatonic scales.
Diatonic and chromaticDiatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900. These terms may mean different things in different contexts. Very often, diatonic refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B.
Relative keyIn music, relative keys are the major and minor scales that have the same key signatures (enharmonically equivalent), meaning that they share all the same notes but are arranged in a different order of whole steps and half steps. A pair of major and minor scales sharing the same key signature are said to be in a relative relationship. The relative minor of a particular major key, or the relative major of a minor key, is the key which has the same key signature but a different tonic.
ChromaticismChromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes. Chromaticism is in contrast or addition to tonality or diatonicism and modality (the major and minor, or "white key", scales).
Chord (music)A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes (also called "pitches") that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and other types of broken chords (in which the chord tones are not sounded simultaneously) may also be considered as chords in the right musical context. In tonal Western classical music (music with a tonic key or "home key"), the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and intervals of a third and a fifth above the root note.
Classical musicClassical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" also applies to non-Western art music. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony.
Closely related keyIn music, a closely related key (or close key) is one sharing many common tones with an original key, as opposed to a distantly related key (or distant key). In music harmony, there are six of them: four of them share all the pitches with a key with which it is being compared, one of them share all except one, and one shares the same tonic. Such keys are the most commonly used destinations or transpositions in a modulation, because of their strong structural links with the home key.
Sonata formSonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period). While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement.
Altered chordAn altered chord is a chord that replaces one or more notes from the diatonic scale with a neighboring pitch from the chromatic scale. By the broadest definition, any chord with a non-diatonic chord tone is an altered chord. The simplest example of altered chords is the use of borrowed chords, chords borrowed from the parallel key, and the most common is the use of secondary dominants. As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional chords is given another quality by the modification of one or more components of the chord.
Accidental (music)In music, an accidental is a note of a pitch (or pitch class) that is not a member of the scale or mode indicated by the most recently applied key signature. In musical notation, the sharp (), flat (), and natural () symbols, among others, mark such notes—and those symbols are also called accidentals. In some kinds of musical style, there are also the half sharp as well as half flat, sometimes also called quarter tone. (See koron.
SubdominantIn music, the subdominant is the fourth tonal degree () of the diatonic scale. It is so called because it is the same distance below the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant. It also happens to be the note one step below the dominant. In the movable do solfège system, the subdominant note is sung as fa. The triad built on the subdominant note is called the subdominant chord.
TonalityTonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality. In this hierarchy, the single pitch or triadic chord with the greatest stability is called the tonic. The root of the tonic chord forms the name given to the key, so in the key of C major, the note C can be both the tonic of the scale and the root of the tonic chord (when it is C–E–G). The tonic can be a different note in the same scale, when the work is said to be in one of the modes of the scale.
SubtonicIn music, the subtonic is the degree of a musical scale which is a whole step below the tonic note. In a major key, it is a lowered, or flattened, seventh scale degree (). It appears as the seventh scale degree in the natural minor and descending melodic minor scales but not in the major scale. In major keys, the subtonic sometimes appears in borrowed chords. In the movable do solfège system, the subtonic note is sung as te (or ta). The subtonic can be contrasted with the leading note, which is a half step below the tonic.
Transposition (music)In music, transposition refers to the process or operation of moving a collection of notes (pitches or pitch classes) up or down in pitch by a constant interval. The shifting of a melody, a harmonic progression or an entire musical piece to another key, while maintaining the same tone structure, i.e. the same succession of whole tones and semitones and remaining melodic intervals. For example, one might transpose an entire piece of music into another key.
Scale (music)In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale. Often, especially in the context of the common practice period, most or all of the melody and harmony of a musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature.
Mode (music)In music theory, the term mode or modus is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.