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 ?
In all dominant functions, the leading tone resolves up to tonic (the circled notes).
Describing the scale leading tone as a half-step from the tonic does not allow for the descending melodic minor.
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."
This means that if the leading tone AEI were suppressed in mm.
Next, the status of L as a leading tone (L+[H.sup.*]) or as a trailing tone ([H.sup.*]+L) is examined according to the alignment evidence.
The 6 chord on the downbeat of measure 3 is so powerful that it forces the B to descend." And later, "the Cx forces the music into a higher register, where the B, inflected to the leading tone, B[MUSICAL NOTES REPRODUCIBLE IN ASCII], will finally cut a viable path to a triumphant C[MUSICAL NOTES REPRODUCIBLE IN ASCII]." The nouns are technical, but the verbs and adjectives are theatrical.
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.
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.
This could also account for the unusual key choice for the sonata, F-sharp being the leading tone of Op.
(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.
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.