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| [[Image:Ii-V-I turnaround in C.png|thumb|300px|Tonic (I) in [[ii-V-I turnaround]] on C, found at the end of the [[circle progression]] {{audio|Ii-V-I turnaround in C.mid|Play}}]]
| | Greetings. The author's title is Phebe and she feels comfortable when individuals use the full title. For years he's been operating as a meter reader and it's something he really appreciate. South Dakota is where me and my spouse reside and my family members loves it. Doing ceramics is what her family and her enjoy.<br><br>Also visit my webpage ... [http://www.beingbeautiful.co/2014/08/curing-candidiasis-easily/ www.beingbeautiful.co] |
| [[Image:Major seventh chord on C.png|thumb|right|Major seventh chord on C {{audio|Major seventh chord on C.mid|Play}}. I<sup>7</sup> or '''tonic seventh chord''' in C major.<ref name="B&S">Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.229. Seventh Edition. ISBN 978-0-07-294262-0.</ref>]]
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| [[Image:Minor seventh chord on C.png|thumb|right|Minor-minor (i<sup>7</sup>) seventh chord on C in natural minor.<ref name="B&S 230">Benward & Saker (2003), p.230.</ref> {{audio|Minor seventh chord on C.mid|Play}}]]
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| [[Image:Minor major seventh chord on C.png|thumb|right|Minor major seventh chord on C.<br/> i<math>_M^7</math> in C [[Minor scale#Harmonic and melodic minor|harmonic]] or [[minor scale|ascending melodic minor]].<ref name="B&S 230"/> {{audio|Minor major seventh chord on C.mid|Play}}]]
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| [[Image:Minor 6-9 chord on C.png|thumb|right|Tonic minor [[6/9 chord]] on C, featuring the raised sixth degree of the [[jazz minor scale|ascending melodic minor]].<ref>Berg, Shelly (2005). ''Alfred's Essentials of Jazz Theory'', Book 3, p.90. ISBN 978-0-7390-3089-9.</ref> {{audio|Minor 6-9 chord on C.mid|Play}}]]
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| In [[music]], the '''tonic''' is the first [[degree (music)|scale degree]] of a [[diatonic scale]] and the [[tonality|tonal]] center or final [[resolution (music)|resolution]] tone.<ref>Benward & Saker (2003), p.33.</ref> The [[triad (music)|triad]] formed on the tonic note, the '''tonic chord''', is thus the most significant [[chord (music)|chord]]. More generally, the '''tonic''' is the [[pitch (music)|pitch]] upon which all other pitches of a piece are [[hierarchy|hierarchically]] referenced. Scales are named after their tonics, thus the tonic of the scale of C is the note C.
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| {{quote|In very much conventionally tonal music, harmonic [[musical analysis|analysis]] will reveal a broad prevalence of the [[primary triad|primary]] (often triadic) [[harmony|harmonies]]: tonic, dominant, and [[subdominant]] (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these.|Berry (1976)<ref name="Berry">Berry, Wallace (1976/1987). ''Structural Functions in Music'', p.62. ISBN 0-486-25384-8.</ref>}}
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| The '''tonic''' is often confused with the [[root (chord)|root]], which is the reference note of a chord, rather than that of the scale. It is also represented with the [[Roman numeral analysis|Roman numeral]] I.
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| ==Importance and function==
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| In western European tonal [[music]] of the 18th and 19th centuries, the tonic center was the most important of all the different tone centers which a [[composer]] used in a piece of music, with most pieces beginning and ending on the tonic, usually modulating to the [[dominant (music)|dominant]] (the fifth above the tonic, or the fourth note down from the tonic) in between.
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| Two [[parallel key]]s have the same tonic. For example, in both C major and C minor, the tonic is C. However, [[relative key]]s (two different scales that share a [[key signature]]) have different tonics. For example, C major and A minor share a key signature that feature no sharps or flats, despite having different tonic pitches (C and A, respectively).
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| {{anchor|Tone center}}''Tonic'' may be reserved exclusively for use in tonal contexts while '''''tonal center''''' and/or '''''pitch center''''' may be used in post- and atonal music: "For purposes of non-tonal centric music, it might be a good idea to have the term 'tone center' refer to the more general class of which 'tonics' (or tone centers in tonal contexts) could be regarded as a subclass."<ref>Berger (1963), p. 12. cited in Swift, Richard. "[http://www.jstor.org/stable/832876 A Tonal Analog: The Tone-Centered Music of George Perle]", p.258. ''Perspectives of New Music'', Vol. 21, No. 1/2, (Autumn, 1982 - Summer, 1983), pp. 257-284.</ref> Thus a pitch center may function referentially or contextually in an [[atonal]] context, often acting as axis or line of symmetry in an [[interval cycle]].<ref>{{Cite book|last=Samson |first=Jim |title=Music in transition: a study of tonal expansion and atonality, 1900-1920 |publisher=[[W. W. Norton & Company]] |location=[[New York City]] |year=1977 |pages= |isbn=0-393-02193-9 |oclc=3240273}}{{Page needed|date=September 2010}}</ref> '''''Pitch centricity''''' was coined by [[Arthur Berger]] in his "Problems of Pitch Organization in Stravinsky".<ref>{{Cite journal|doi=10.2307/832252 |last=Berger |first=Arthur |authorlink=Arthur Berger |date=Fall–Winter 1963 |title=Problems of Pitch Organization in Stravinsky |journal=[[Perspectives of New Music]] |volume=2 |issue=1 |pages=11–42|jstor=832252}}</ref>
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| The '''tonic''' [[diatonic function]] includes four separate activities or roles as the principal goal tone, initiating event, generator of other tones, and the stable center neutralizing the tension between dominant and subdominant.
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| ==See also==
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| * [[Final (music)]]
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| ==References==
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| {{Reflist}}
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| {{degrees|state=uncollapsed}}
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| {{chords}}
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| {{DEFAULTSORT:Tonic (Music)}}
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| [[Category:Scale degrees|1]]
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| [[Category:Diatonic functions]]
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Greetings. The author's title is Phebe and she feels comfortable when individuals use the full title. For years he's been operating as a meter reader and it's something he really appreciate. South Dakota is where me and my spouse reside and my family members loves it. Doing ceramics is what her family and her enjoy.
Also visit my webpage ... www.beingbeautiful.co