Dominant Prolongation
Modern theorists such as Telesco explain how small sections of omnibus progression (signified in example 1 by brackets around groups of chords) can be viewed as an instance of dominant prolongation achieved through voice exchange. Example 2 (above) is effectively a prolongation of the dominant seventh chord G7 which utilises chromatic voice movement. The bass voice descends chromatically while the upper voice ascends chromatically, and the inner voices remain stationary on the notes of D and F. Eventually the chromatic movement results in a new inversion of the dominant seventh chord G7, resolving to the tonic chord C.
Read more about this topic: Omnibus Progression
Famous quotes containing the word dominant:
“Combativeness was, I suppose, the dominant trait in my grandmother’s nature. An aggressive churchgoer, she was quite without Christian feeling; the mercy of the Lord Jesus had never entered her heart. Her piety was an act of war against Protestant ascendancy. ...The teachings of the Church did not interest her, except as they were a rebuke to others ...”
—Mary McCarthy (1912–1989)