supertonic

3, beat 2, the seventh in the supertonic chord is scale-degree 1, which resolves down by step to the leading tone in the dominant harmony.

Supertonic Sound Club have released Truly Something Special - which certainly applies to this band.

(5.) In music theory, the 'Neapolitan sixth' is a major chord built on the lowered second (supertonic) scale degree.

For example, Damschroder uses a [IV.sup.5-6] label to show that the subdominant is prolonged (i.e., embellished) by the supertonic (II), which arrives on a more foreground level during the "6-phase" of IV, on its way to the dominant (V) for contextual and voice leading reasons (p.

Anna captured ghost-like sounds by softly striking the bass metallophone and playing minor seconds in rising sequences, finishing on the supertonic and leaving her story unresolved.

Some of the 29 lessons include: tonic, dominant, pre-dominant, supertonic sevenths, dominant sevenths, prolonging chords, melodic figurations, sequences, inversions, modulation, applied dominants, melody writing, form and analysis.

The melodic structure is built on four notes (tonic, supertonic and submediant) in order to reflex the tone of the language.

On MUNFLA tape 70-08 C674, on which Mac Masters is instructing Will Wareham in the finer points of dance music, he vamps in between strains of the music: he plays a couple of "jogs," then draws a note on the same button, which produces the supertonic note (it sounds like an attempt to get more air in the bellows) all the while rhythmically beating time with his feet.

In Bolivia, new products such as "coca wine" echo the combinations and claims of the nineteenth century--"supertonic," diet formula, and antidote for depression.

Another new product from Garden Of Life is Clear Energy[TM], which contains a blend of 12 supertonic herbs and is 100% pesticide and herbicide free.

This time the subject fragment is transferred to a new transpositional level, that of the "supertonic." [13] Since the interval ratio of an acoustically pure ninth is 9/4 = 2.25, the first part of the fragment is presented in durations 2.25, times the length of the opening notes of the original subject, and the quintuplet gesture in durations 4.5 times the original.

Berlin requires only the first four bars anyway and modifies the harmony half-way through the second bar to force a modulation to the supertonic minor, which is maintained to the end of the phrase.