Faster access than browser!Similarities between Leading-tone and Secondary chord
Leading-tone and Secondary chord have 29 things in common (in Unionpedia): Borrowed chord, Chord (music), Common practice period, Consonance and dissonance, Degree (music), Diatonic function, Diminished seventh chord, Diminished triad, Dominant (music), Dominant seventh chord, Half-diminished seventh chord, Key (music), Leading-tone, Major chord, Major scale, Minor chord, Music theory, Resolution (music), Root (chord), Secondary chord, Semitone, Seventh (chord), Seventh chord, Subtonic, Third (chord), Tonality, Tonic (music), Tonicization, Triad (music).
Borrowed chord
A borrowed chord (also called mode mixture,Romeo, Sheila (1999). Complete Rock Keyboard Method: Mastering Rock Keyboard, p.42.. Bouchard, Joe and Romeo, Sheila (2007). The Total Rock Keyboardist, p.120. Alfred Music.. modal mixture, substitutedWhite (1911), p.42. modal interchange) is a chord borrowed from the parallel key (minor or major scale with the same tonic).
Borrowed chord and Leading-tone · Borrowed chord and Secondary chord ·
Chord (music)
A chord, in music, is any harmonic set of pitches consisting of two or more (usually three or more) notes (also called "pitches") that are heard as if sounding simultaneously.
Chord (music) and Leading-tone · Chord (music) and Secondary chord ·
Common practice period
In the history of European art music, the common practice period is the era between the formation and the decline of the tonal system.
Common practice period and Leading-tone · Common practice period and Secondary chord ·
Consonance and dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive sounds.
Consonance and dissonance and Leading-tone · Consonance and dissonance and Secondary chord ·
Degree (music)
In music theory, scale degree refers to the position of a particular note on a scale relative to the tonic, the first and main note of the scale from which each octave is assumed to begin.
Degree (music) and Leading-tone · Degree (music) and Secondary chord ·
Diatonic function
In tonal music theory, a function (often called harmonic function, tonal function or diatonic function, or also chord area) is the relationship of a chord to a tonal center.
Diatonic function and Leading-tone · Diatonic function and Secondary chord ·
Diminished seventh chord
The diminished seventh chord is commonly used in the harmony of both Western classical music and also in jazz and popular music of the twentieth and twenty-first centuries.
Diminished seventh chord and Leading-tone · Diminished seventh chord and Secondary chord ·
Diminished triad
In music, a diminished triad, also known as the minor flatted fifth (m5), is a triad consisting of two minor thirds above the root — if built on C, a diminished triad would have a C, an E and a G. It resembles a minor triad with a lowered (flattened) fifth.
Diminished triad and Leading-tone · Diminished triad and Secondary chord ·
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic, and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale.
Dominant (music) and Leading-tone · Dominant (music) and Secondary chord ·
Dominant seventh chord
In music theory, a dominant seventh chord, or major minor seventh chord, is a chord composed of a root, major third, perfect fifth, and minor seventh.
Dominant seventh chord and Leading-tone · Dominant seventh chord and Secondary chord ·
Half-diminished seventh chord
In music theory, the half-diminished seventh chord—also known as a half-diminished chord or a minor seventh flat five (m75)—is formed by a root note, a minor third, a diminished fifth, and a flat seventh.
Half-diminished seventh chord and Leading-tone · Half-diminished seventh chord and Secondary chord ·
Key (music)
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a music composition in classical, Western art, and Western pop music.
Key (music) and Leading-tone · Key (music) and Secondary chord ·
Leading-tone
In music theory, a leading-note (also subsemitone, and called the leading-tone in the US) 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.
Leading-tone and Leading-tone · Leading-tone and Secondary chord ·
Major chord
In music theory, a major chord is a chord that has a root note, a major third above this root, and a perfect fifth above this root note.
Leading-tone and Major chord · Major chord and Secondary chord ·
Major scale
The major scale (or Ionian scale) is one of the most commonly used musical scales, especially in Western music.
Leading-tone and Major scale · Major scale and Secondary chord ·
Minor chord
In music theory, a minor chord is a chord having a root, a minor third, and a perfect fifth.
Leading-tone and Minor chord · Minor chord and Secondary chord ·
Music theory
Music theory is the study of the practices and possibilities of music.
Leading-tone and Music theory · Music theory and Secondary chord ·
Resolution (music)
Resolution in western tonal music theory is the move of a note or chord from dissonance (an unstable sound) to a consonance (a more final or stable sounding one).
Leading-tone and Resolution (music) · Resolution (music) and Secondary chord ·
Root (chord)
In music theory, the concept of root is the idea that a chord can be represented and named by one of its notes.
Leading-tone and Root (chord) · Root (chord) and Secondary chord ·
Secondary chord
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period, the use of diatonic functions for tonicization. In the tonal idiom, a song or piece of music has a tonic note and chord, which is based on the root of the key that the piece is in. The most important chords in a tonal song or piece are the tonic chord (labeled as I in harmonic analysis) and the dominant chord (V). A piece or song is said to be in the key of the tonic. In the key of C major, the tonic chord is C major and the dominant chord is G. Chords are named after the function they serve and their position (for example, the "dominant" is considered the most important after the tonic and the "subdominant" is the same distance from the tonic as the dominant but below rather than above) and numbered by the scale step of the chord's base note (the root of the vi chord is the sixth scale step). Secondary chords are altered or borrowed chords, chords which are not in the key. Secondary chords are referred to as the function they are serving of the key or chord to which they function and written "function/key". Thus, the dominant of the dominant is written "V/V" and read as, "five of five," or, "dominant of the dominant". Any scale degree with a major or minor chord on it may have any secondary function applied to it; secondary functions may be applied to diminished triads in some special circumstances. Secondary chords were not used until the Baroque period and are found more frequently and freely in the Classical period, even more so in the Romantic period, and, although they began to be used less frequently with the breakdown of conventional harmony in modern classical music, secondary dominants are a "cornerstone," of popular music and jazz of the 20th century.Benward & Saker (2003), p.273-7.
Leading-tone and Secondary chord · Secondary chord and Secondary chord ·
Semitone
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically.
Leading-tone and Semitone · Secondary chord and Semitone ·
Seventh (chord)
In music, the seventh factor of a chord is the note or pitch seven scale degrees above the root or tonal center.
Leading-tone and Seventh (chord) · Secondary chord and Seventh (chord) ·
Seventh chord
A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root.
Leading-tone and Seventh chord · Secondary chord and Seventh chord ·
Subtonic
In music, the subtonic is the scale degree below the tonic or, more specifically, the flattened seventh (VII): the lowered or minor seventh degree of the scale, a whole step below the tonic, as opposed to the leading tone, which is only a half step below the tonic.
Leading-tone and Subtonic · Secondary chord and Subtonic ·
Third (chord)
In music, the third factor of a chord is the note or pitch two scale degrees above the root or tonal center.
Leading-tone and Third (chord) · Secondary chord and Third (chord) ·
Tonality
Tonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality.
Leading-tone and Tonality · Secondary chord and Tonality ·
Tonic (music)
In music, the tonic is the first scale degree of a diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music and traditional music.
Leading-tone and Tonic (music) · Secondary chord and Tonic (music) ·
Tonicization
In music, tonicization is the treatment of a pitch other than the overall tonic (the "home note" of a piece) as a temporary tonic in a composition.
Leading-tone and Tonicization · Secondary chord and Tonicization ·
Triad (music)
In music, a triad is a set of three notes (or "pitches") that can be stacked vertically in thirds.
Leading-tone and Triad (music) · Secondary chord and Triad (music) ·
The list above answers the following questions
- What Leading-tone and Secondary chord have in common
- What are the similarities between Leading-tone and Secondary chord
Leading-tone and Secondary chord Comparison
Leading-tone has 63 relations, while Secondary chord has 75. As they have in common 29, the Jaccard index is 21.01% = 29 / (63 + 75).
References
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