Dominant Key

The dominant key in a given musical composition is the key whose tonic is a perfect fifth above (or a perfect fourth below) the tonic of the main key of the piece. Put another way, the key whose tonic is the dominant scale degree in the main key.

If, for example, a piece is written in the key of C major, then the key of C is the tonic key. The key of G major is the dominant key since it is based on the dominant note for the key of C major.

In sonata form in major keys, the second subject group is usually in the dominant key. Even with the widest roaming modulations in the development, the dominant key exerts influence and eventually forces a return to the tonic key.

Other articles related to "key, dominant, dominant key, keys":

United States - African American Ghettos
... Additionally, a key feature that developed throughout the postindustrial era and continues to symbolize the demographics of American ghettos is the prevalence of poverty ... Two dominant theories arise pertaining to the production and development of U.S ... Their analysis consists of the dominant racial group in the U.S ...
Piano Sonata No. 11 (Beethoven) - Movements
... The exposition starts in the tonic key and transitions into the dominant key as the second theme begins ... leading into a chromatic scale resolving in an FMm7 chord (dominant function of the sonata), which sets up the recapitulation ... as the exposition, with a deviation that sets the rest of the movement to stay in the tonic key ...
Dominant (music) - Dominant Key in Tonal Modulation
... The movement to the dominant was part of musical grammar, not an element of form ... Almost all music in the eighteenth century went to the dominant before 1750 it was not something to be emphasized afterward, it was something that the composer could take ... —Charles Rosen (1972) "Dominant" also refers to a relationship of musical keys ...

Famous quotes containing the words key and/or dominant:

    With one day’s reading a man may have the key in his hands.
    Ezra Pound (1885–1972)

    What makes revolutionists is either self-pity, or indignation for the sake of others, or a sympathetic perception of the dominant undercurrent of progress in things. The nature before us is revolutionist from the direct sense of personal worth,... that pride of life, which to the Greek was a heavenly grace.
    Walter Pater (1839–1894)