Common tone (chord) in the context of "Pitch class"

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⭐ Core Definition: Common tone (chord)

In music, a common tone is a pitch class that is a member of, or common to (shared by) two or more chords or sets. Typically, it refers to a note shared between two chords in a chord progression. According to H.E. Woodruff:

The example below shows the seven diatonic triads of C major. The common tones between the tonic triad and the other six triads are highlighted in blue. As Woodruff describes, the tonic triad shares no common tones with either II and VII (consecutive to I), one common tone with IV and V (four and five degrees from I) each, and two common tones with III and VI (three and six degrees from I) each.

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Common tone (chord) in the context of Riff

A riff is a short, repeated motif or figure in the melody or accompaniment of a musical composition. Riffs are most often found in various genres of rock music (including punk and heavy metal music), as well as Latin, funk, and jazz, although classical music is also sometimes based on a riff, as in Ravel's Boléro. Riffs can be as simple as a tenor saxophone honking a simple, catchy rhythmic figure, or as complex as the riff-based variations in the head arrangements played by the Count Basie Orchestra.

David Brackett (1999) defines riffs as "short melodic phrases", while Richard Middleton (1999) defines them as "short rhythmic, melodic, or harmonic figures repeated to form a structural framework". Author Rikky Rooksby states: "A riff is a short, repeated, memorable musical phrase, often pitched low on the guitar, which focuses much of the energy and excitement of a rock song."

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Common tone (chord) in the context of Voice leading

Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. These principles include voices sounding smooth and independent, generally minimising movement to common tones as well as steps to the closest chord tone possible, therefore minimising leaps where possible. As a result, different voicings and inversions of chords may provide smoother voice leading.

Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees.

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