This article is about the musical system. The other tones in a tonal piece are all defined in terms of their relationship to the tonic. By the middle of the 20th century, it had become “evident that triadic structure does not necessarily generate a tone center, that non-triadic harmonic formations may be made to function as referential elements, and that the assumption of a twelve-tone complex does post tonal theory pdf preclude the existence of tone centers”. Musical phenomena perceived or preinterpreted in terms of the categories of tonal theories.
To function as a tonic, a chord must be either a major or a minor triad. Dominant function requires a major-quality triad with a root a perfect fifth above the affiliated tonic and containing the leading tone of the key. This dominant triad must be preceded by a chord progression that establishes the dominant as the penultimate goal of a motion that is completed by moving on to the tonic. A dominant seventh chord always consist of a major triad with an added minor seventh above the root. The last of these progressions is characterized by “retrograde” harmonic motion. C Major, commonly-used chords will included d minor, F Major, G Major, etc.
C Major, this would be a G dominant seventh chord, or G7 chord, which contains the pitches G, B, D and F. The larger portion of the world’s folk and art music can be categorized as tonal,” as long as the definition is as follows: “Tonal music gives priority to a single tone or tonic. However, “within the continuing hegemony of tonality there is evidence for a relatively separate tradition of genuine folk musics, which do not operate completely or even mainly according to the assumptions or rules of tonality. Power chords are especially problematic when trying to apply classical functional tonality to certain varieties of popular music. These genres are often expressed in two parts—a bass line doubled in fifths, and a singe vocal part.