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In tonal music, a preparation is the consonant pitch or chord which precedes a dissonant nonharmonic tone. The move from a dissonance to a consonance constitutes a resolution.
In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Consonance is associated with sweetness, pleasantness, and acceptability; dissonance is associated with harshness, unpleasantness, or unacceptability.
Resolution in western tonal music theory is the move of a note or chord from dissonance to a consonance.
In the following example, the C major chord on the left is a preparation which precedes a nonharmonic tone that serves as an anticipation (center, marked in red) to the G major harmony on the right. This harmony resolves the preceding dissonance:
In music theory, a major chord is a chord that has a root, major third, and perfect fifth. When a chord has these three notes alone, it is called a major triad. For example, the major triad built on C, called a C major triad, has pitches C–E–G:
Preparation is a management principle whereby people get ready for a final product or for a successful experience. Preparation means "a substance especially prepared". Preparation is a proceeding or readiness for a future event as a goal and an acceptable accomplished final outcome. It is to make something acceptable before you give it to others.
In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords.
In music theory, a leading-note is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. Typically, the leading tone refers to the seventh scale degree of a major scale, a major seventh above the tonic.
A fourth is a musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth is the fourth spanning five semitones. For example, the ascending interval from C to the next F is a perfect fourth, as the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished and augmented fourths span the same number of staff positions, but consist of a different number of semitones.
A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic, and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales.
In music, the subdominant is the technical name for 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 immediately "below" the dominant. It is sung as fa in solfege. In the C major scale, the subdominant is the note F; and the subdominant chord uses the notes F, A, and C. In music theory, Roman numerals are used to symbolize the subdominant chord as 'IV' if it is within the major mode or 'iv' if it is within the minor mode.
In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary harmonies: tonic, dominant, and subdominant, and especially the first two of these.
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord. Nonchord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music.
In classical music from Western culture, an augmented fifth is an interval produced by widening a perfect fifth by a chromatic semitone. For instance, the interval from C to G is a perfect fifth, seven semitones wide, and both the intervals from C♭ to G, and from C to G♯ are augmented fifths, spanning eight semitones. Being augmented, it is considered a dissonant interval.
In music, the supertonic is the second degree or note of a diatonic scale, one step above the tonic. It is sung as re in solfege. In music theory, the supertonic chord may be symbolized by the Roman numeral ii in a major scale, indicating that the chord is a minor chord (for example, D-F-A in C major), or iio in a natural minor scale, indicating that the chord is a diminished chord (for example, D-F-A♭ in C natural minor), if in second inversion a six-four chord (A♭-D-F), and if the third is raised an augmented sixth chord (A♭-F♯). If in major or minor, through the lowering of the second scale degree (also the sixth in major), the chord is major (D♭-F-A♭) then it is a Neapolitan 6th chord, N6 or ♭II6. The supertonic may be raised as part of the common-tone diminished seventh chord, ♯iio7.
In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.
In music theory, a dominant seventh chord, or major minor seventh chord, is a seventh chord composed of a root, major third, perfect fifth, and minor seventh. It can be also viewed as a major triad with an additional minor seventh. When using popular-music symbols, it is denoted by adding a superscript "7" after the letter designating the chord root. For example, the dominant seventh chord built on G, written as G7, has pitches G–B–D–F:
Pandiatonicism is a musical technique of using the diatonic scale without the limitations of functional tonality. Music using this technique is pandiatonic. The term "pandiatonicism" was coined by Nicolas Slonimsky in the second edition of Music since 1900 to describe chord formations of any number up to all seven degrees of the diatonic scale, "used freely in democratic equality". Triads with added notes such as the sixth, seventh, or second are the most common, while the, "most elementary form," is a nonharmonic bass. According to Slonimsky's definition,
Pan-diatonicism sanctions the simultaneous use of any or all seven tones of the diatonic scale, with the bass determining the harmony. The chord-building remains tertian, with the seventh, ninth, or thirteenth chords being treated as consonances functionally equivalent to the fundamental triad. Pan-diatonicism, as consolidation of tonality, is the favorite technique of NEO-CLASSICISM [sic].
The second inversion of a chord is the voicing of a triad, seventh chord, or ninth chord in which the fifth of the chord is the bass note. In this inversion, the bass note and the root of the chord are a fourth apart which traditionally qualifies as a dissonance. There is therefore a tendency for movement and resolution. In notation form, it is referred to with a c following the chord position or as a 6
In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads".
In music theory, a predominant chord is any chord which normally resolves to a dominant chord. Examples of predominant chords are the subdominant, supertonic, Neapolitan sixth and German sixth. Other examples are the secondary dominant (V/V) and secondary leading tone chord. Predominant chords may lead to secondary dominants. Predominant chords both expand away from the tonic and lead to the dominant, affirming the dominant's pull to the tonic. Thus they lack the stability of the tonic and the drive towards resolution of the dominant. The predominant harmonic function is part of the fundamental harmonic progression of many classical works. The submediant (vi) may be considered a predominant chord or a tonic substitute.
The Elektra chord is a "complexly dissonant signature-chord" and motivic elaboration used by composer Richard Strauss to represent the title character of his opera Elektra that is a "bitonal synthesis of E major and C-sharp major" and may be regarded as a polychord related to conventional chords with added thirds, in this case an eleventh chord. It is enharmonically equivalent to a 7#9 chord : D♭-F-A♭-C♭-E.
Cambiata, or nota cambiata, has a number of different and related meanings in music. Generally it refers to a pattern in a homophonic or polyphonic setting of a melody where a note is skipped from in one direction and this is followed by the note, and then by motion in the opposite direction, and where either the note skipped from is distinguished as a dissonance or the note skipped to is distinguished as a non-harmonic or non-chordal tone. With regards to music pedagogical activities and species counterpoint, it refers to a more specific set of patterns.
The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales. The system has been widely used since the 1970s and is "generally accepted in the jazz world today".
In music, a factor or chord factor is a member or component of a chord. These are named root, third, fifth, sixth, seventh, ninth, eleventh, thirteenth, and so on, for their generic interval above the root. In harmony, the consonance and dissonance of a chord factor and a nonchord tone are distinguished, respectively.
In music, a parallel chord is an auxiliary chord derived from one of the primary triads and sharing its function: subdominant parallel, dominant parallel, and tonic parallel. The term is derived from German theory and the writings of Hugo Riemann.
The substitution of the major sixth for the perfect fifth above in the major triad and below in the minor triad results in the parallel of a given triad. In C major thence arises an apparent A minor triad, D minor triad (Sp), and E minor triad (Dp).