Tonic

in posture are voluntary muscle fibres which are known as tonic and twitch fibres. Tonic fibres enable you to remain sitting upright whilst sitting due to the voluntary muscles being in a state of tension. These fibres are red in colour due to large amounts of myoglobin (oxygen-transporting pigment of muscle) and have slow contraction characteristic which means they contract slowly but are able to keep going for long periods in time. Tonic fibres can also be found in large numbers

change it into something extraordinary. The great minds of Rapture played with the substance creating Gene Tonics, substances promising physical exuberance and vitality. Civilians would glide through Rapture's streets, lighting fires with their fingertips as if it was an everyday occurrence. Work was mundane and the people relished their new capabilities. ADAM was the canvas, and Gene tonics were the paint. Toying with one's genetic makeup however, came at a high price. In time, the people of Rapture

section carries on with a V-I confirmation of the new tonic until m. 48 where the home key of A♭ is brought back in through the use of secondary dominants and tension that ends the section with a HC at m. 50 and is released with the MT into the final A section. Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as

would proceed to the tonic sounding V with an augmented sixth chord. He does just this in Sonata number 12, as shown in the example on the top of the next page in measures sixty-four through sixty-seven. VI7 ii7 V7 Ger+6 V Mozart begins a harmony on a Major sixth chord and leads into a V with a seventh chord, giving a dominant to tonic feel. He further gives

Analysis of Concerto in F Minor for Harpsichord and Strings Movement 3: Presto Johann Sebastian Bach’s third movement, Presto, of the Concerto in F Minor for harpsichord and strings provides ample expertly crafted material for analysis. This movement is in a binary form in which an opening ritornello alternates episodes of solo material. The ritornello, full of easily recognizable material provided by both the orchestra and solo harpsichord, provides a stable back drop in between each solo section

verse then begins. Frank Sinatra uses the intervals of a minor 6th to show regret, which contributes to the mellow mood. Every verse begins and ends with a minor 6th, or minor 3rd. The atmospheric mood of music is also set by a choir which sings the tonic in order to instate the minor and solemn feeling of the music. The trumpet also continually sets a solemn tone to the music, with the use of a minor

When one thinks of impressionistic composers, it is only natural for Claude Debussy to be part of the subject. However, it is rare that impressionism and classical form are mentioned within the same breath. For that reason, it is necessary to remind oneself that the free-flowing music of the contemporary only exists by standing on the shoulders of the rigidly methodical music that came before it. Claude Debussy’s First Violin Sonata exemplifies this beautifully. Though the harmonic language is that

In the last decade, there has been much debate over the value of musical training in schools. Although some people claim that music education in schools is a waste of time and resources, research has found that musical training can improve various cognitive processes and skills, such as the development of language, reasoning, pattern recognition, and memory. These skills can translate into other school subjects as well. This paper explores the relationship between music and perceptions and emotional

by a tritonal harmonic leap onto a sforzando dominant seventh chord of F-sharp major at beat 2. This chord, together with a rising chromatic line heralds the return of the tonic key. Schumann has reinterpreted the chord of C major as the Neapolitan chord (the flattened second) of b minor (the tonic), making the surprising tritonal leap more logical than it initially seems. The original motivic material is presented exactly as it occurred in bars 1-4 to provide an aesthetic

There is a good argument for the lack of tonal variety in the piece- in the whole Andante only one type of chromatic chord is used (in bar 12 of variations 1-4). Also, Mozart's reliance on the tonic and dominant chords is evident; in the theme, over 75% of the chords are in the tonic (A major) or the dominant (E major). However, as the variations progress, the listener can hear plenty of tonal structure to ward off criticism. Right from the beginning of Variation 1 (bar