Harmony¶
Piston, W. (1941). Harmony. W. W. Norton.
Cited by¶
1 citation across 1 artifact.
Each citation links to the sentence it supports in the citing article.
Domain-specific¶
- Tonality
- The structural commitment is a codified grammar of stability and directed motion, not merely the presence of a center: the dominant (fifth scale degree) creates strong tension that resolves to the tonic; the leading tone (seventh scale degree) creates a particularly intense upward pull one semitone to the tonic; the subdominant creates a softer pre-dominant tension resolved most characteristically via the dominant; and the cadential progressions (V→I, ii→V→I, IV→I) are the syntactic punctuation by which tonal closure is achieved and confirmed
This sourceA functional-harmony treatment of the subdominant's position below the tonic, the leading-tone's melodic tendency to the tonic, and the plagal (IV-I) and authentic cadences. A functional-harmony treatment of the dominant seventh chord as a dissonance that requires preparation and resolves. The functional-harmony rule that a pattern may be transposed by any interval and into any tonality, its identity preserved while the pitches change.
Supported in partVerified against the work's full text
“Mediant (halfway from tonic to dominant) IV. [Subdominant] (as far below the tonic as the dominant is above”
- The structural commitment is a codified grammar of stability and directed motion, not merely the presence of a center: the dominant (fifth scale degree) creates strong tension that resolves to the tonic; the leading tone (seventh scale degree) creates a particularly intense upward pull one semitone to the tonic; the subdominant creates a softer pre-dominant tension resolved most characteristically via the dominant; and the cadential progressions (V→I, ii→V→I, IV→I) are the syntactic punctuation by which tonal closure is achieved and confirmed
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Registry ID ref:ac557e85272c · see in the full table