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34-470: VII or vii may refer to: Art and entertainment [ edit ] vii , leading-tone triad, see diminished triad VII (Blitzen Trapper album) VII (Just-Ice album) VII (Teyana Taylor album) VII (Tresor album) VII: Journal of the Marion E. Wade Center VII Photo Agency , an international photographic cooperative Saw VII ,

68-635: A German submarine class in World War 2 See also [ edit ] VII Corps (disambiguation) Vij , a surname Viy (disambiguation) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title VII . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=VII&oldid=1248884102 " Category : Disambiguation pages Hidden categories: Short description

102-420: A diminished triad occurs only on the seventh scale degree . For instance, in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale degree, it is also called the leading-tone triad . This chord has a dominant function . Unlike the dominant triad or dominant seventh , the leading-tone triad functions as a prolongational chord rather than a structural chord since

136-441: A dominant functioning chord. If the music is in a minor key, diminished triads can also be found on the raised seventh note, ♯ vii . This is because the ascending melodic minor scale has a raised sixth and seventh degree. For example, the chord progression ♯ vii –i is common. The leading-tone diminished triad and supertonic diminished triad are usually found in first inversion (vii and ii , respectively) since

170-677: A just minor third and Pythagorean minor third (45:54:64) in the notation system used in On the Sensations of Tone as a Physiological Basis for the Theory of Music . Play Perfect , Preferred (5-limit major), or 5-limit minor on C. Sources Tonic Supertonic Sp Mediant Dp , Tkp , tP , [D](Sp) Subdominant Dominant Submediant Tp , sP , tCp Leading tone D̸ Subtonic dP Prolongation In music theory , prolongation

204-410: A line from J.S. Bach to Johannes Brahms . Developments in more recent music theory have sought to clarify the conditions under which prolongation may obtain, so that other repertoires may either be opened up or more justifiably be precluded. Schenker pupil Felix Salzer, for example, detects the rudiments of prolongational horizontalization in music as early as 12th-century plainchant and argues that it

238-453: Is 15:8, 9:8, and 4:3, while on II (in C: D–F–A ♭ ) it is 9:8, 4:3, and 8:5 (135:160:192). According to Georg Andreas Sorge , the trumpet , in its overtone series on C, gives the diminished triad E–G–B ♭ = 5:6:7 ("perfect diminished chord" ), but the 7 is too flat and 45:54:64 is preferred. Helmholtz describes the diminished triad as 1  − D | F, giving

272-421: Is a musical principle that persists through post-tonal music as well, such as Paul Hindemith and Igor Stravinsky . Music theorist Robert Morgan has argued that a central tenet of Schenkerian thought—that only consonant triads are capable of prolongation—needlessly excludes a class of dissonant sonorities, such as diminished sevenths or a more arbitrarily defined set of pitches; Morgan claims that, starting in

306-466: Is about atonality that precludes prolongational hearing. His own definition of prolongation is "the sense of continuation of a musical object, particularly when not literally present ... prolongation is a cognitive act of the listener". He formulated four conditions for the possibility of Schenkerian prolongation in any musical style (1987) These are: Straus concludes that such conditions do not exist in atonal music and therefore that "atonal prolongation"

340-470: Is almost always used to tonicize the relative minor, in progressions such as vii –V /vi–vi, which resembles ii –V –i in the relative minor. In a twelve-tone equal temperament , a diminished triad has three semitones between the third and fifth, three semitones between the root and third, and six semitones between the root and fifth. In 5-limit just intonation , the diminished chord on VII (in C: B–D–F)

374-450: Is based on circular criteria. Lerdahl's own formulation of prolongation is more amenable to atonal structures. For example, in atonal music , strong prolongation may be distinguished from progression, repetition of an event versus movement to a different event, while weak prolongation, repetition of an event in altered form, may not easily be distinguished due to the lack of a referential triad ( klang ). Miguel Roig-Francolí has proposed

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408-436: Is different from Wikidata All article disambiguation pages All disambiguation pages Diminished triad For example, the diminished triad built on B, written as B , has pitches B-D-F: The chord can be represented by the integer notation {0, 3, 6}. In the common practice period , the diminished triad is considered dissonant because of the diminished fifth (or tritone). In major scales ,

442-444: Is impossible; although he is open to the possibility that prolongation is a possibility in other post-tonal music (he gives the example of music composed with the octatonic scale ), he argues that in practice most post-tonal music does not display this. Instead, he suggests that in post-tonal music, including atonal music, a model of 'association' is more defensible than strict prolongation. However, Lerdahl argues that Straus' argument

476-404: Is located in a pitch class, a pitch class is located within a chord, a chord is located in a key region, a key is located in pitch space including the circle of fifths and their relative minors. A rhythmic event is located within the meter which is located within the form. Thus " reductions " are often made at different levels excluding the prolongational from the structural events; these may express

510-487: Is more than once used to translate Auskomponierung and "prolonged" for auskomponiert . Oster otherwise translates Auskomponierung as "composing out" and others use "compositional elaboration" or, short, "elaboration." Drabkin quotes as "methods of prolongation" techniques that include Anstieg , Ausfaltung , Koppelung , Tieferlegung , Übergreifen and Untergreifen , which Schenker would rather have described as techniques of Auskomponierung . In Schenkerian analysis,

544-544: Is the process in tonal music through which a pitch , interval , or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis , conceived by Austrian theorist Heinrich Schenker . The English term usually translates Schenker's Auskomponierung (better translated as "composing out" or "elaboration"). According to Fred Lerdahl , "The term 'prolongation' [...] usually means ' composing out' (Schenker's own intention for

578-426: The horizontalization , "the elaboration in time of a governing vertical sonority – a chord or an interval. [...] When an interval is horizontalized, its tones unfold against a background determined in the vertical dimension by the governing sonority of which it is part." Schenker intended his theory to apply only to music of the common practice period , and there to a select class of mostly Austro-German composers in

612-503: The note or harmony of highest hierarchical significance is the tonic , and this is said to be "prolonged" across durations of music that may feature many other different harmonies. (However, in principle any other type of consonant chord , pitch, or harmonic function can be prolonged within tonal music.) "In chord prolongation, one chord governs a prolongation of various chords; these different chords are subordinated to that one chord which they help to express and prolong." A pitch

646-584: The 19th century, composers such as Liszt , Wagner , and Scriabin , began "composing out" these dissonant configurations as rigorous a manner as is usually ascribed to the triadic prolongation of tonal composers. Atonal music poses a stark challenge to prolongational hearing and analysis, as its harmonic makeup by definition eschews the long-range controlling force of monotonality , and in most cases purposely abstains from consonant triads, or indeed referential or centric sonorities at all. Music theorist Joseph Straus has attempted to define more rigorously what it

680-655: The Americans ' " Cara Mia ", and the Hollies ' " The Air That I Breathe ". Not so rare but rare enough so as to imply knowledge of and conscious avoidance on the part of rock musicians, examples of its use include Oasis ' " Don't Look Back in Anger ", David Bowie 's " Space Oddity ", and two in Daryl Hall 's " Everytime You Go Away ". The vii in major keys is relatively less common than the ii , but still does happen. It

714-598: The Schenkerian canon; and (7) definitions of the term are proposed in relation to atonal music. The replacement of Schenker's own term Auskomponierung by "prolongation" appeared in step (2), as an English translation. The English "prolongation" has been used in The Masterwork in Music to translate German words including Auskomponierung , ausdrücken and Auswicklung . In Free Composition , "prolongation"

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748-492: The analyst discerns ways in which prolongation creates the details of a musical composition by elaborating the background structure. Most of these methods involve contrapuntal processes, to such a degree that Schenkerian theory is a theory that almost completely synthesizes harmony and linear counterpoint in the service of the more global phenomenon of tonal prolongation. Prolongational techniques include arpeggiations , linear progressions , unfoldings , etc., in general aiming at

782-459: The meaning of "prolongation" has been described by Anthony Pople in seven steps: (1) Schenker proposes it as an operational concept in his teaching; (2) Felix Salzer , Allen Forte and others, disseminate and clarify it; (3) it is used within attempted formalisations of Schenkerian analysis; (4) new theories evoking Schenker make use of it; (5) it is used within theories amplifying Schenker's own; (6) definitions are proposed in theories beyond

816-418: The modern one. The German word Prolongation is not common, and Schenker first used it in a very specific meaning (maybe originating in legal, possibly Viennese vocabulary), referring to the extension of the primal laws ( Urgesetze ) or of the primal concepts ( Urbegriffe ) of strict composition in free composition and the phenomena resulting from the extension of these laws. He used the word mainly to denote

850-465: The next are subsumed in Schenker's notion of "composing out" or "compositional elaboration" ( Auskomponierung , a German neologism), which for him is a mechanism of elaborating pitch materials in musical time. The means of elaboration are described below as "prolongational techniques", in conformity with the modern Schenkerian English usage, but should better be termed "elaborations". The broadening of

884-416: The relationships through time-reductions or prologational reductions (which may be Urlinien or tree diagrams). The early 20th-century music theorist Heinrich Schenker (1868–1935) was responsible for developing both the conceptual framework for prolongation and a means of analyzing music in terms of prolonged musical structures (called Schenkerian analysis ). Schenker’s own usage of the term differs from

918-676: The seventh film in the Saw franchise , commonly called "VII" Other uses [ edit ] VII, The Roman number for seven vii , leading-tone triad, see diminished triad Vii (river) , a river in Romania Vehicle Infrastructure Integration , an R&D initiative for linking road vehicles to their physical surroundings Viscosity index improver IATA airport code VII: Vinh Airport , located in Vinh, Nghe An, Vietnam Type VII Submarine ,

952-548: The spelling of the chord forms a diminished fifth with the bass. This differs from the fully diminished seventh chord , which commonly occurs in root position . In both cases, the bass resolves up and the upper voices move downwards in contrary motion . Walter Everett writes that "In rock and pop music, the diminished triad nearly always appears on the second scale degree, forming a generally maudlin and dejected ii with its members, 2–4– ♭ 6." Songs that feature ii include Santo & Johnny 's " Sleep Walk ", Jay and

986-522: The steps through which the Ursatz develops into the foreground . He explains that this figure "shows the gradual growth of the voice-leading prolongations, all predetermined in the womb of the Urlinie ". The "gradual growth" illustrated is a global phenomenon, always concerning the piece as a whole. The figure is further commented upon on p. 45 of the same volume. Schenker stresses that it starts with

1020-437: The strong root motion by fifth is absent. On the other hand, in natural minor scales , the diminished triad occurs on the second scale degree; in the key of C minor, this is the D diminished triad (D, F, A ♭ ). This triad is consequently called the supertonic diminished triad . Like the supertonic minor triad found in a major key, the supertonic diminished triad has a predominant function , almost always resolving to

1054-432: The term is open to debate)." Prolongation can be thought of as a way of generating musical content through the linear elaboration of simple and basic tonal structures with progressively increasing detail and sophistication, and thus analysis consists of a reduction from detail to structure. Important to the operation of prolongation is the hierarchical differentiation of pitches within a passage of tonal music. Typically,

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1088-548: The transformation of a given level of voice-leading to the next one, describing the passage from level to level as a Prolongation . Adele T. Katz appears to be responsible for the shift of meaning where "prolongation" became the American translation of Auskomponierung . In his analysis of J.S. Bach 's Little Prelude in D minor , BWV 926, in Der Tonwille 5, Schenker proposes what may be his earliest figure showing

1122-593: The two-voice setting of the Ursatz – an expression, therefore, of the fundamental laws of strict counterpoint . Each of the following steps is described as a Prolongation , a specific freedom taken with respect to the laws expressed in the previous step. And in Freie Satz , he confirms that the word still refers to the passing from one voice-leading level to another: "For the sake of continuity with my earlier theoretical and analytical works, I am retaining in this volume

1156-406: The words of Latin derivation Prolongation and Diminution as designations for the voice-leading levels in the middleground". The concept of Prolongation is important for Schenker because he believes that showing how a masterpiece of free composition remains rooted in the laws of strict counterpoint explains its utter unity, its "synthesis". The means and techniques of passing from one level to

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