Editing Tonality (section)

=== Other perspectives ===
There is a loose assortment of ideas associated with the term.

: "Tonal harmonies must always include the third of the chord".{{sfnp|Brown|2005|p=46}}

In major and minor harmonies, the [[perfect fifth]] is often implied and understood by the listener even if it is not present. To function as a tonic, a chord must be either a major or a minor triad. Dominant function requires a major-quality triad with a root a perfect fifth above the affiliated tonic and containing the leading tone of the key. This dominant triad must be preceded by a chord progression that establishes the dominant as the penultimate goal of a motion that is completed by moving on to the tonic. In this final dominant-to-tonic progression, the leading tone normally ascends by semitone motion to the tonic scale degree.<ref>{{harvp|Berry|1976|p=54}}; {{harvp|Brown|2005|p=4}}; {{harvp|Burnett|Nitzberg|2007|p=97}}; {{harvp|Rogers|2004|p=47}}.</ref> A dominant seventh chord always consist of a major triad with an added minor seventh above the root. To achieve this in minor keys, the seventh scale degree must be raised to create a major triad on the dominant.<ref>{{harvp|Duckworth|2015|p=225}}; {{harvp|Mayfield|2013|p=94}}.</ref>

[[David Cope]]{{sfnp|Cope|1997|p=12}} considers key, [[consonance and dissonance]] (relaxation and tension, respectively), and hierarchical relationships the three most basic concepts in tonality.

Carl Dahlhaus{{sfnp|Dahlhaus|1990|p=102}} lists the characteristic schemata of tonal harmony, "typified in the compositional formulas of the 16th and early 17th centuries," as the "complete cadence" I–[[ii–V–I]], [[I–IV–V–I]], I–IV–I–V–I; the [[circle of fifths]] progression I–IV–vii°–iii–[[vi–ii–V–I]]; and the major–minor parallelism: minor v–i–VII–III equals major iii–vi–V–I; or minor III–VII–i–v equals major I–V–vi–iii. The last of these progressions is characterized by "retrograde" harmonic motion.