Table of Contents

Section 3: 

Set theory
Rhythm/ form 
12- tone 
Polyrhythm
Metric modulation
Meter

Section 4: 

Basic Assumptions 
Motive, Phrase and Period
Cadence
Binary form
Ternary form
Rounded binary form
Sonata form
Rondo form
Theme and variation
Dance forms

Section 5: 

Basic assumptions 
and procedures
Harmony
Form and rhythm
Melody
Timbre

Section 6: Bibliography

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Dominant-tonic function

Basic Concepts:

1.  The dominant-tonic relationship is a primary defining factor in tonal or diatonic music. The tonic serves as the central pitch, or tonal center, and the dominant sets up this pitch harmonically.

2.  The dominant chord consists of the dominant, a pitch a fifth away from tonic, the leading tone, a half step below tonic, and the supertonic, a whole step above the tonic.

3. Because of the stability of the perfect fifth interval and the traditional perception of the perfect fourth being dissonant and harmonically less stable, when the tonic and dominant pitch sound together, the tonic sounds like the stronger of the two pitches.

   -the leading tone leads to the tonic by half step.

   -add the seventh to the dominant chord and the dissonance requires resolution.  The dissonance created includes the minor seventh interval between the root and the seventh, and the tritone between the third and the seventh.  The tritone interval resolving inward by half step produces the major third of the tonic triad.  For example, B-F resolves to C-E.

3.  Whether by convention or by nature, this relationship creates the process called "tonicization."  The dominant chord tonicizes the tonic. 

4.  The chords that function as the dominant in a key are V, V7, vii°, vii°7, and the half diminished seventh chord. This holds true even though the "dominant" pitch is not included in the vii° chords.

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