curprev05:3905:39, 20 January 2018 Hyacinthtalkcontribs 10,991 bytes+350 →In tonal modulation: [[File:Harmonic axis in C major and minor.png|300px|thumb|"Essentially, there are two harmonic directions: toward I and toward V. These primary diatonic triads for the harmonic axis of tonal music."<ref>Forte, Allen (1979). ''Tonundo
curprev02:5302:53, 9 February 2017 Hyacinthtalkcontribs 10,584 bytes+281 →top: <ref>Forte, Allen (1979). ''Tonal Harmony'', p.118. 3rd edition. Holt, Rinehart, and Wilson. ISBN 0-03-020756-8. "V serves to establish the tonic triad...particularly evident at the cadence."</ref>undo
curprev16:1616:16, 21 May 2010 Hyacinthtalkcontribs 6,599 bytes+214 called "dominant" because it is next in importance to the tonic<ref>Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.33. Seventh Edition. ISBN 978-0-07-294262-0.<undo
curprev19:5019:50, 17 April 2010 Hyacinthtalkcontribs 6,128 bytes+780 {{quote|The vast majority of harmonies designated as "essential" in the basic frame of structure must be I and V–the latter, ''when tonal music is viewed in broadest terms'', an auxiliary support andundo
13 April 2010
curprev23:3023:30, 13 April 2010 Hyacinthtalkcontribs 5,348 bytes+525 {{quote|In fact the scheme I-x-V-I symbolizes, though naturally in a very summarizing way, the harmonic course of any composition of the Classical period. This ''x'', usually appearing as a progressioundo
curprev00:0900:09, 10 January 2008 Hyacinthtalkcontribs m3,241 bytes+23 *Perle, George (1955). "Symmetrical Formations in the String Quartets of Béla Bartók", ''Music Review'' 16: 300-312. Cited in Wilson (1992).undo
curprev12:0112:01, 10 December 2005 Hyacinthtalkcontribs 2,601 bytes+422 The dominant may also be considered the result of a transformational operation applied to the tonic that most closely resembles the tonic by some clear-cut criteria such as common tones. (Perle 1955 cundo
