leading tone


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lead·ing tone

 (lē′dĭng)
n. Music
The seventh tone or degree of a scale that is a half tone below the tonic; a subtonic.

[From its tendency to lead into or rise to the tonic.]

lead′ing tone′

(ˈli dɪŋ)
n.
the seventh tone of an ascending diatonic scale.
[1910–15]
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.leading tone - (music) the seventh note of the diatonic scale
musical note, note, tone - a notation representing the pitch and duration of a musical sound; "the singer held the note too long"
music - an artistic form of auditory communication incorporating instrumental or vocal tones in a structured and continuous manner
References in periodicals archive ?
The harmonies are interesting, particularly Stanford's choice to eliminate the leading tone of the minor key that is present in other settings (Moffat and Stevenson), making it sound more modal.
Safland's track record in delivery and execution of world class projects in a very short time is clearly setting the leading tone in the industry and this momentum will be maintained in the years to come.
A minor quibble about editing: the musical terminology does not alw ays conform to American practice: leading tone, not note, for instance.
However, on closer inspection there are curious anomalies: the raised tone does not act like a leading tone in the new "key," instead it operates as the second degree, and the scale structure itself is of a number of groups of smaller intervals separated by single larger intervals.
Had Kant indeed possessed knowledge of what modulation means to a musician, he would eo ipso have possessed a full grasp of functional harmony, and the essential characteristics of the major/minor musical scale, which is to say, the harmonic implications of the fifth, fourth, leading tone, relative minor, and so forth.
This could also account for the unusual key choice for the sonata, F-sharp being the leading tone of Op.
It does lack a leading tone - this should not be terribly important when the whole tone is only 120[cents] wide.
This line of thinking reasons that the resolution of the leading tone, for example, must be rendered by Ti to Do; Si to La, as occurs in La-Based Minor, simply will not do.