Perfect authentic cadence (IV64-V7-I progression) in C  Play (help·info). "This is the strongest cadence type, almost always found at the main formal articulative points" (Benjamin 2003, 284). "Tonal music is built around these tonic and dominant arrival points [cadences], and they form one of the fundamental building blocks of musical structure. ... A perfect authentic cadence is the strongest cadence ..." (Benjamin, Horvitz, and Nelson 2008, 63).

Tonality is a system of music in which specific hierarchical pitch relationships are based on a key "center", or tonic. The term tonalité originated with Alexandre-Étienne Choron (1810) and was borrowed by François-Joseph Fétis in 1840 (Reti, 1958; Simms 1975, 119; Judd, 1998; Dahlhaus 1990). Although Fétis used it as a general term for a system of musical organization and spoke of types de tonalités rather than a single system, today the term is most often used to refer to Major-Minor tonality (also called diatonic tonality, common practice tonality, or functional tonality), the system of musical organization of the common practice period, and of Western-influenced popular music throughout much of the world today.

Characteristics and features[link]

The tonal system prevalent in what we know as the common-practice period is usually known as major-minor, or functional tonality. In functional tonality, chords have a harmonic or tonal function, which we can define as the relationship of a chord with the other chords in the key, and especially its relationship with the tonic. We usually label the specific functions of chords with Roman numerals. The basic harmonic functions are tonic (I), dominant (V), and predominant (IV).

David Cope (1997,^{[page needed]}) considers key, consonance and dissonance (or relaxation and tension, respectively), and hierarchical relationships to be the three most basic concepts in tonality. In describing these tenets of tonal music, several known terms are used to refer to various elements of the tonal system.

Carl Dahlhaus (1990,^{[page needed]}) lists the characteristics schemata of tonal harmony, "typified in the compositional formulae of the 16th and early 17th centuries," as the "complete cadence" (vollständige Kadenz): I-IV-V-I; I-IV-I-V-I; or I-ii-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.

Other scales or modes are often introduced for variety within the context of a major-minor tonal system without disturbing the diatonic nature of the work. The major scale predominates, and the melodic minor contains nine pitches (seven with two alterable). The seven basic notes of a scale are notated in the key signature, and whether the piece is in the major or minor key is either stated in the title or implied in the piece (there is a major and minor key for each key signature).

Other important scales include the blues scale, the whole tone scale, the pentatonic scale, and the chromatic scale. As these are not the major or minor diatonic scales, music written exclusively with them is not tonal by the definition above.

Chords are built primarily from notes of a diatonic scale, or secondarily from chromatic notes treated as variations or embellishments of the basic scale. The identity of the scale is important, as the size of the steps between notes are used to determine the system of chord relationships.

Form[link]

The traditional form of tonal music begins and ends on the tonic of the piece, and many tonal works move to a closely related key, such as the dominant of the main tonality (for example sonata form). Establishing a tonality is traditionally accomplished through a cadence, which is two chords in succession which give a feeling of completion or rest, with the most common being V7-I cadence. Other cadences are considered to be less powerful.

Consonance and dissonance[link]

In the context of tonal organization, a chord or a note is said to be consonant when it implies stability, and dissonant when it implies instability. This is not the same as the ordinary use of the words consonant and dissonant. A dissonant chord is in tension against the tonic, and implies that the music is distant from that tonic chord. Resolution is the process by which the harmonic progression moves from dissonant chords to consonant chords and follows counterpoint or voice leading. Voice leading is a description of the horizontal movement of the music, as opposed to chords which are considered the vertical.

Traditional tonal music is described in terms of a scale of notes, upon which are built chords. Chords in order form progressions, which establish or deny a particular chord as being the tonic chord. The cadence is held to be the sequence of chords which establishes one chord as being the tonic chord; more powerful cadences create a greater sense of closure and a stronger sense of key. Chords function by leading the music towards or away from a particular tonic chord. When the sense of which chord is the tonic is changed, the music is said to have "changed key" or "modulated". Roman numerals and numbers are used to describe the relationship of a particular chord to the tonic chord.

The techniques of accomplishing this process, are the subject of tonal music theory and compositional practice.

History and theory[link]

This section needs attention from an expert on the subject. Please add a reason or a talk parameter to this template to explain the issue with the section. WikiProject Music may be able to help recruit an expert. (May 2010)

18th century[link]

Theories of tonal music are generally said^{[weasel words]} to have begun with Jean-Philippe Rameau's Treatise on Harmony (1722), who was the first theorist to justify harmonic practice through a coherent system based on acoustical principles (Girdlestone 1969, 520). He claimed that his work represents "the practice of the last 40 years" (Rameau 1722,^{[page needed]}). Rameau's work was introduced to Germany by Friedrich Wilhelm Marpurg in 1757, and used Rameau's system to explain the music of Johann Sebastian Bach (Marpurg 1753–54).^[vague] The vocabulary of describing notes in relationship to the tonic note, and the use of harmonic progressions and cadences, became part of Bach's practice. Essential to this version of tonal theory are the chorale harmonizations of Bach, and the method by which a church melody is given a four part harmony by first assigning cadences, then creating a natural, or most direct, thoroughbass, and finally filling in the middle voices.^{[citation needed]}

19th century[link]

Fétis (1844^{[citation needed]}) defined tonality, specifically tonalité moderne as the, "set of relationships, simultaneous or successive, among the tones of the scale," allowing for other types de tonalités among different cultures.^{[cite this quote]} He considered tonalité moderne as "trans-tonic order" (having one established key, and allowing for modulation to other keys) and tonalité ancienne "uni-tonic order" (establishing one key and remaining in that key for the duration of the piece). He described his earliest example of tonalité moderne thus: "In the passage quoted here from Monteverdi's madrigal (Cruda amarilli, mm. 9–19 and 24–30), one sees a tonality determined by the accord parfait [root position major chord] on the tonic, by the sixth chord assigned to the chords on the third and seventh degrees of the scale, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait and, above all, by the unprepared seventh chord (with major third) on the dominant" (Fétis 1844, 171).

Fétis believed that tonality, tonalité moderne, was entirely cultural, saying, "For the elements of music, nature provides nothing but a multitude of tones differing in pitch, duration, and intensity by the greater or least degree... The conception of the relationships that exist among them is awakened in the intellect, and, by the action of sensitivity on the one hand, and will on the other, the mind coordinates the tones into different series, each of which corresponds to a particular class of emotions, sentiments, and ideas. Hence these series become various types of tonalities" (Fétis 1844, 11–12). "But one will say, 'What is the principle behind these scales, and what, if not acoustic phenomena and the laws of mathematics, has set the order of their tones?' I respond that this principle is purely metaphysical [anthropological]. We conceive this order and the melodic and harmonic phenomena that spring from it out of our conformation and education" (Fétis 1844, 249). In contrast, Hugo Riemann believed tonality, "affinities between tones" or Tonverwandtschaften, was entirely natural and, following Moritz Hauptmann (1853), that the major third and perfect fifth were the only "directly intelligible" intervals, and that I, IV, and V, the tonic, subdominant, and dominant were related by the perfect fifths between their root notes (Dahlhaus 1990, 101-2).

By the 1840s, the practice of harmony had expanded to include more chromatic notes and a wider chord vocabulary, particularly the more frequent use of the diminished seventh chord—a four-note chord of all minor thirds. It is in this era that the word tonality became more common. At the same time, the elaboration of both the fugue and the sonata form, in terms of key relationships, became more rigorous, and the study of harmonic progressions, voice leading, and ambiguity of key, more precise.

Theorists such as Hugo Riemann, and later Edward Lowinsky and others, pushed back the date at which modern tonality began, and the cadence began to be seen as the definitive way that a tonality is established in a work of music (Judd, 1998).

In the music of some late-Romantic or post-Romantic composers such as Richard Wagner, Hugo Wolf, Anton Bruckner, Gustav Mahler, Richard Strauss, Alexander Skryabin, and others, we find a variety of harmonic and linear procedures that have the effect of weakening functional tonality. These procedures may produce a suspension of tonality or may create a sense of tonal ambiguity, even to the point that at times the sense of tonality is completely lost.

20th century[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010)

In response, Bernhard Meier instead used a tonality and modality, or modern and ancient, dichotomy, with Renaissance music being modal. The term modality has been criticized by Harold Powers, among others. However, it is used to describe music whose harmonic function centers on notes rather than on chords, including some of the music of Bartók, Stravinsky, Vaughan Williams, Charles Ives, and composers of minimalist music. This and other modal music is broadly tonal.

In the early 20th century, the vocabulary of tonal theory was decisively influenced by two theorists: composer Arnold Schoenberg, whose Harmonielehre (Theory of Harmony) describes in detail chords, chord progressions, vagrant chords, creation of tonal areas, and voice leading in terms of harmony. To Schoenberg, every note has "structural function" to assert or deny a tonality, based on its tendency to establish or undermine a single tonic triad as central. At the same time, Heinrich Schenker was evolving a theory based on the expansion of horizontal relationships. To Schenker, the background of every successful tonal piece is based on a simple cadence, which is then elaborated and elongated in the middle and foreground. Though adherents of the two theorists argued back and forth, in the mid-century a synthesis of their ideas was widely taught as tonal theory, most particularly, Schenker's use of graphical analysis, and Schoenberg's emphasis on tonal distance.

The practice of jazz developed its own theory of tonality^{[citation needed]}, stating^[who?] that while the cadence is not central to establishing a tonality, the presence of the I and V chords and either the IV or ii chord in progression is. This theory emphasized the play of modal elements against tonal elements in an effort to allow improvisation and inflection of standard melodies.

Tonality may be considered generally, with no restrictions on the date or place the music was produced, and little restriction on the materials and methods used. This definition includes pre-17th century western music, as well as much non-western music. By the middle of the 20th century, it had become "evident that triadic structure does not necessarily generate a tone center, that non-triadic harmonic formations may be made to function as referential elements, and that the assumption of a twelve-tone complex does not preclude the existence of tone centers" (Perle 1991, 8). Centric is sometimes used to describe music which is not traditionally tonal, but which nevertheless has a relatively strong tonal center. Often the term common practice tonality is used specifically to refer to tonal music that utilizes the diatonic system of relationship between tonic and dominant, whereas tonal or tonality refers more broadly to describe any music or musical practice that relies on or exhibits tonal centers, modalities, or both, often with triadic organization and relatively consonant harmonies.

In the early 20th century, the tonality which had prevailed since the 17th century was seen to have reached a crisis or break down point. Because of the "increased use of the ambiguous chords, the less probable harmonic progressions, and the more unusual melodic and rhythmic inflections" (Meyer 1967, 241), the syntax of functional harmony was loosened to the point where "At best, the felt probabilities of the style system had become obscure; at worst, they were approaching a uniformity which provided few guides for either composition or listening" (Meyer 1967, 241).

Alfred Einstein wrote that in ancient China, "the development from the non-semitonal pentatonic to the seven-note scale is certainly traceable, even though the old pentatonic always remained the foundation of its music" (Einstein 1954, 7). He notes a similar development in ancient Japan and Java. Much folk and art music focuses on a pentatonic, or five-note scale, including Beijing Opera, the folk music of Hungary, and the musical traditions of Japan.

In the final decades of the twentieth century we find numerous composers who base their music on extensions of the concept of tonality or pitch centricity, in styles that have often been called neotonal or neo-Romantic, in some cases featuring a clear revitalization of traditional tonality. This rediscovery of tonality and its expressive power in the late years of the century is patent in works by composers such as David Del Tredici, George Rochberg, Joan Tower, Wolfgang Rihm, Christopher Rouse (composer), Aaron Jay Kernis, and Jennifer Higdon, or in recent works by Penderecki and Hans Werner Henze.

Theoretical underpinnings[link]

Tonality allows for a great range of musical materials, structures, meanings, and understandings. It does this through establishing a tonic, or central chord, based on the lowest pitch, or degree, of a scale, and using a somewhat flexible network of relations between any pitch or chord and the tonic, similar to perspective in painting. Tonality has a hierarchical structure: one triad, the tonic triad, is the center to which other chords are supposed to lead.

Circle of fifths

As within a musical phrase, interest and tension may be created through the move from consonance to dissonance and back. A larger piece will also create interest by moving away from and back to the tonic, and tension by destabilizing and re-establishing the key. Temporary secondary tonal centers may be established by cadences, or simply passed through in a process called modulation, while simultaneous tonal centers may be established through polytonality. Additionally, the structure of these features and processes may be linear, cyclical, or both. This allows for a huge variety of relations to be expressed through consonance and dissonance, distance or proximity to the tonic, the establishment of temporary or secondary tonal centers, and ambiguity as to tonal center. Music notation was created to accommodate tonality and facilitate interpretation.

The majority of tonal music assumes that notes spaced over several octaves are perceived the same way as if they were played in one octave, or octave equivalency. Tonal music also assumes that scales have harmonic implication or diatonic functionality. This means a note which has different places in a chord will be heard differently, thus there is not enharmonic equivalency. In tonal music, chords which are moved to different keys, or played with different root notes, are not perceived as being the same; transpositional equivalency and especially inversional equivalency are not considered applicable.

A successful tonal piece of music, or a successful performance of one, will give the listener a feeling that a particular chord — the tonic chord — is the most stable and final. It will then use musical materials to tell the musician and the listener how far the music is from that tonal center, most commonly, though not always, to heighten the sense of movement and drama as to how the music will resolve the tonic chord. The means for doing this are described by the rules of harmony (or throughbass) and counterpoint. Counterpoint is the study of linear resolutions of music, while harmony encompasses the sequences of chords which form a chord progression.

Though modulation may occur instantaneously without indication or preparation, the least ambiguous way to establish a new tonal center is through a cadence, a succession of two or more chords which ends a section, gives a feeling of closure or finality, or both. Traditionally, cadences act both harmonically, to establish tonal centers, and formally, to articulate the end of sections; just as the tonic triad is harmonically central, a dominant-tonic cadence will be structurally central. The more powerful the cadence, the larger the section of music it can close. The strongest cadence is the perfect authentic cadence, which moves from the dominant to the tonic, most strongly establishes tonal center, and ends the most important sections of tonal pieces, including the final section. This is the basis of the dominant-tonic or tonic-dominant relationship. Common practice placed a great deal of emphasis on the correct use of cadences to structure music, and cadences were placed precisely to define the sections of a work. However, such strict use of cadences gradually gave way to more complex procedures where whole families of chords were used to imply particular distance from the tonal center. Composers, beginning in the late 18th century, began using chords such as the Neapolitan, French or Italian Sixth. These temporarily suspended a sense of key, and by freely changing between the major and minor voicing for the tonic chord, they made the listener unsure of whether the music was major or minor. There was also a gradual increase in the use of notes which were not part of the basic 7 notes, called chromaticism, culminating in post-Wagnerian music such as that by Mahler and Strauss, and trends such as impressionism and dodecaphony.

One area of disagreement going back to the origin of the term tonality is whether tonality is natural or inherent in acoustical phenomena, whether it is inherent in the human nervous system or a psychological construct, whether it is inborn or learned, and to what degree it is all these things (Meyer 1967, 236). A viewpoint held by many theorists since the third quarter of the 19th century, following the publication in 1862 of the first edition of Helmholtz's On the Sensation of Tone (Helmholtz 1877), holds that diatonic scales and tonality arise from natural overtones (Riemann 1872, 1875, 1882, 1893, 1905, 1914–15; Schenker 1906–35; Hindemith 1937–70).

Rudolph Réti differentiates between harmonic tonality of the traditional kind found in homophony, and melodic tonality, as in monophony. In the harmonic kind, tonality is produced through the V-I chord progression. He argues that in the progression I-x-V-I (and all progressions), V-I is the only step "which as such produces the effect of tonality," and that all other chord successions, diatonic or not, being more or less similar to the tonic-dominant, are "the composer's free invention." He describes melodic tonality (the term coined independently and 10 years earlier by Estonian composer Jaan Soonvald (Rais 1992, 46)) as being "entirely different from the classical type," wherein, "the whole line is to be understood as a musical unit mainly through its relationship to this basic note [the tonic]," this note not always being the tonic as interpreted according to harmonic tonality. His examples are ancient Jewish and Gregorian chant and other Eastern music, and he points out how these melodies often may be interrupted at any point and returned to the tonic, yet harmonically tonal melodies, such as that from Mozart's The Magic Flute below, are actually "strict harmonic-rhythmic pattern[s]," and include many points "from which it is impossible, that is, illogical, unless we want to destroy the innermost sense of the whole line" to return to the tonic (Reti 1958).^{[page needed]}

The tonic feels more or less natural after each note of, for example, Mozart's The Magic Flute

 Play normally (help·info) and compare with  impossible return (help·info) after B♮

x = return to tonic near inevitable

ⓧ (circled x) = possible but not inevitable

circle = impossible

(Reti 1958,^{[page needed]})

Consequently, he argues, melodically tonal melodies resist harmonization and only reemerge in western music after, "harmonic tonality was abandoned," as in the music of Claude Debussy: "melodic tonality plus modulation is [Debussy's] modern tonality" (Reti 1958, 23).

See also[link]

Music portal

• Atonality
• History of music
• Schenkerian analysis
• Peter Westergaard's tonal theory

References[link]

• Beswick, Delbert Meacham. 1951. "The Problem of Tonality in Seventeenth-Century Music." Ph.D. diss. Chapel Hill: University of North Carolina.
• Jim Samson (1977) suggests the following discussions of tonality as defined by Fétis, Helmholtz, Riemann, D'Indy, Adler, Yasser, and others:
  • Beswick, Delbert M. 1950. "The Problem of Tonality in Seventeenth Century Music". Ph.D. thesis. Chapel Hill: University of North Carolina. p. 1-29. OCLC accession number 12778863.
  • Shirlaw, Matthew (1917). The Theory of Harmony: An Inquiry into the Natural Principles of Harmony; with an Examination of the Chief Systems of Harmony from Rameau to the Present Day. London: Novello & Co. (Reprinted New York: Da Capo Press, 1969. ISBN 0-306-71658-5.)
• Roig-Francolí, Miguel A. 2008. Understanding Post-Tonal Music. New York: McGraw-Hill. ISBN 0-07-293624-X

Sources[link]

• Alembert, Jean le Rond D'. 1752. Elémens de musique, theorique et pratique, suivant les principes de m. Rameau. Paris: David l'aîné. Facsimile reprint, New York: Broude Bros., 1966.
• Benjamin, Thomas. 2003. The Craft of Tonal Counterpoint, with Examples from the Music of Johann Sebastian Bach, second edition. New York: Routledge. ISBN 0-415-94391-4.
• Benjamin, Thomas, Michael M. Horvit, and Robert Nelson. 2008. Techniques and Materials of Music: From the Common Practice Period through the Twentieth Century, seventh edition. Belmont, CA: Thomson Schirmer. ISBN 978-0-495-18977-0.
• Choron, Alexandre. 1810. "Sommaire de l'histoire de la musique." In vol. 1 of François Fayolle and Alexandre Choron, Dictionnaire historique de musiciens. 2 vols. Paris: Valade et Lenormant, 1810–11.
• Cope, David. 1997. Techniques of the Contemporary Composer. New York: Schirmer Books. ISBN 0-02-864737-8.
• Dahlhaus, Carl. 1990. Studies in the Origin of Harmonic Tonality. Translated by Robert O. Gjerdingen. Princeton: Princeton University Press. ISBN 0-691-09135-8.
  • Castile-Blaze. 1821. Dictionnaire de musique moderne. Paris: Au magazin de musique de la Lyre moderne.
  • Fétis, François-Joseph. 1844. Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art. Brussels: Conservatoire de Musique; Paris: Maurice Schlesinger.
  • Hauptmann, Moritz. 1853. Die Natur der Harmonik und der Metrik. Leipzig: Breitkopf und Härtel.
  • Rameau, Jean-Philippe. 1737. Génération harmonique, ou Traité de musique théorique et pratique. Paris: Prault fils.
  • Riemann, Hugo; cited in Gurlitt, W. (1950). "Hugo Riemann (1849–1919)".
• Einstein, Alfred. 1954. A Short History of Music, fourth American edition, revised. New York: Vintage Books.
• Fétis, François-Joseph. 1844. Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art. Brussels: Conservatoire de Musique; Paris: Maurice Schlesinger. English edition, as Complete Treatise on the Theory and Practice of Harmony, translated by Peter M Landey. Harmonologia: Studies in Music Theory 13. Hillsdale, NY: Pendragon Press, 2008. ISBN 978-1-57647-111-1.
• Girdlestone, Cuthbert. 1969. Jean-Philippe Rameau: His Life and Work, revised and enlarged edition. New York: Dover Publications, Inc.
• Gustin, Molly. 1969. Tonality. Philosophical Library. LCCN 68-18735.
• Harrison, Lou. 1992. "Entune." Contemporary Music Review 6 (2), 9-10.
• Helmholtz, Hermann von. 1877. Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik. Fourth edition. Braunschweig: F. Vieweg. English, as On the Sensations of Tone as a Physiological Basis for the Theory of Music. 2d English ed. translated, thoroughly rev. and corrected, rendered conformal to the 4th (and last) German ed. of 1877, with numerous additional notes and a new additional appendix bringing down information to 1885, and especially adapted to the use of music students, by Alexander J. Ellis. With a new introd. (1954) by Henry Margenau. New York, Dover Publications, 1954.
• Hindemith, Paul. Unterweisung im Tonsatz. 3 vols. Mainz, B. Schott's Söhne, 1937–70. First two volumes in English, as The Craft of Musical Composition, translated by Arthur Mendel and Otto Ortmann. New York: Associated Music Publishers; London: Schott & Co., 1941-42.
• Janata P, J. Birk, J. Van Horn J, M. Leman, B. Tillmann, and J. Bharucha. 2002. "The cortical topography of tonal structures underlying Western music." Science (Dec. 13).
• Judd, Cristle Collins. 1998. "Introduction: Analyzing Early Music", Tonal Structures of Early Music (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.
• Kepler, Johannes. 1619. Harmonices mundi (Latin: The Harmony of the Worlds). Linz: Godofredo Tampechi.
• Kilmer, Anne Draffkorn, Richard L. Crocker, and Robert R. Brown. 1976. Sounds from Silence, Recent Discoveries in Ancient Near Eastern Music. LP sound recording, 33⅓ rpm, 12 inch, with bibliography (23 p. ill.) laid in container. [n.p.]: Bit Enki Records. LCC#75-750773 /R
• Marpurg, Friedrich Wilhelm. 1753–54. Abhandlung von der Fuge nach dem Grundsätzen der besten deutschen und ausländischen Meister. 2 vols. Berlin: A. Haude, und J.C. Spener.
• Marpurg, Friedrich Wilhelm. 1757. Systematische Einleitung in die musikalische Setzkunst, nach den Lehrsätzen des Herrn Rameau, Leipzig: J. G. I. Breitkopf. [translation of D'Alembert 1752]
• Meyer, Leonard B. 1967. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Chicago and London: University of Chicago Press.
• Perle, George. 1978. Twelve-Tone Tonality. University of California Press. ISBN 0-520-20142-6. (reprinted 1992)
• Perle, George. 1991. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern, sixth edition, revised. Berkeley and Los Angeles: University of California Press. ISBN 0-520-07430-0
• Pleasants, Henry. 1955 The Agony of Modern Music, Simon & Shuster, N.Y., LCC#54-12361.
• Rais, Mark. 1992. "Jaan Soonvald and His Musical System". Leonardo Music Journal 2, no. 1:45–47.
• Rameau, Jean-Phillipe. 1722. Traité de l’harmonie réduite à ses principes naturels. Paris: Ballard.
• Rameau, Jean-Phillipe. 1726. Nouveau Systême de Musique Theorique, où l'on découvre le Principe de toutes les Regles necessaires à la Pratique, Pour servir d'Introduction au Traité de l'Harmonie. Paris: L'Imprimerie de Jean-Baptiste-Christophe Ballard.
• Rameau, Jean-Phillipe. 1737. Génération harmonique, ou Traité de musique théorique et pratique. Paris: Prault fils.
• Rameau, Jean-Phillipe. 1750. Démonstration du Principe de L'Harmonie, Servant de base à tout l'Art Musical théorique et pratique. Paris: Durand et Pissot.
• Reti, Rudolph (1958). Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music. Westport, Connecticut: Greenwood Press. ISBN 0-313-20478-0.
• Riemann, Hugo. 1872. "Über Tonalität." Neue Zeitschrift für Musik 68.
• Riemann, Hugo. 1875. “Die objective Existenz der Untertöne in der Schallwelle.” Allgemeine Musikzeitung 2:205–6, 213–15.
• Riemann, Hugo. 1882. Die Natur der Harmonik. Sammlung musikalischer Vorträge 40, ed. Paul Graf Waldersee. Leipzig: Breitkopf und Härtel.
• Riemann, Hugo. 1893. Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde. London & New York: Augener & Co. (2d ed. 1903.) Translated 1895 as Harmony Simplified, or the Theory of the Tonal Functions of Chords. London: Augener & Co.
• Riemann, Hugo. 1905. "Das Problem des harmonischen Dualismus." Neue Zeitschrift für Musik 101:3–5, 23–26, 43–46, 67–70.
• Riemann, Hugo. 1914–15. "Ideen zu einer 'Lehre von den Tonvorstellungen'." Jahrbuch der Musikbibliothek Peters 1914–15: 1–26.
• Samson, Jim. 1977. Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920. New York: W.W. Norton & Company. ISBN 0-393-02193-9.
• Schellenberg, E. Glenn, and Sandra E. Trehub. 1996. "Natural Musical Intervals: Evidence from Infant Listeners" Psychological Science Vol. 7, no. 5 (September): 272-77.
• Schenker, Heinrich. 1906–35. Neue musikalische Theorien und Phantasien. 3 vols. in 4. Vienna and Leipzig: Universal Edition.
• Schenker, Heinrich. 1979. Free composition, translated and edited by Ernst Oster. New York: Longman, 1979. Translation of Neue musikalische Theorien und Phantasien, 3. Bd., Der freie Satz. ISBN 0-582-28073-7
• Schenker, Heinrich. 1987. Counterpoint, translated by John Rothgeb and Jürgen Thym; edited by John Rothgeb. 2 vols. New York: Schirmer Books; London: Collier Macmillan. Translation of Neue musikalische Theorien und Phantasien, 2. Bd., Kontrapunkt. ISBN 0-02-873220-0
• Schenker, Heinrich; ed. and annot. Oswald Jonas (1954). Harmony. trans. Elisabeth Mann-Borgese. Chicago: University of Chicago Press. OCLC 280916.  Translation of Neue musikalische Theorien und Phantasien, 1. Bd., Harmonielehre. (Reprinted Cambridge, Mass.: MIT Press, 1973, ISBN 0-262-69044-6)
• Schoenberg, Arnold. 1978. Theory of Harmony, translated by Roy E. Carter. Berkeley & Los Angeles: University of California Press. ISBN 0-520-03464-3. Reprint ed. 1983, ISBN 0-520-04945-4. Pbk ed. 1983, ISBN 0-520-04944-6.
• Simms, Bryan. 1975. "Choron, Fétis, and the Theory of Tonality." Journal of Music Theory 19, no. 1 (Spring): 112–38.
• Thomson, William. 1999. Tonality in Music: A General Theory. San Marino, Calif.: Everett Books. ISBN 0-940459-19-1.
• West, M. L. 1994. "The Babylonian Musical Notation and the Hurrian Melodic Texts." Music and Letters 75, no. 2 (May): 161–79.

Further reading[link]

• Khramov M. 2008. "Project Commator and Sonantometry." In Proceedings of the International Symposium FRSM-2008. Jadavpur University, Kolkata, India, 2008, edited by A. K. Dutta, 133–140.^{[Full citation needed]}

External links[link]

Wikiquote has a collection of quotations related to: Tonality

• Music Fundamentals: Tonal Music PDF
• Tonal Harmony Reference Materials for the Undergraduate Theory Student
• Tonality, Modality, and Atonality by Larry Solomon
• Basic guide to tonal theory
• The Tonal Centre "explains and demonstrates some of the key concepts of tonality"
• Algebra of Tonal Functions.

v t e Musical notation and development Staff Bar & bar line Clef Da capo Dal segno Key signature Ledger line Musical mode Musical scale Rehearsal letter Repeat sign Time signature Transposition Transposing instrument Notes Accidental Flat Natural Sharp Dotted note Grace note Note value Beam Note head Stem Pitch Rest Tuplet Interval Helmholtz pitch notation Letter notation Scientific pitch notation Articulation Dynamics Ornament Trill Mordent Grace note Portato Accent Legato Tenuto Marcato Staccato Staccatissimo Tie Slur Fermata Tonguing Development Cell Coda Exposition Figure Harmony Hook Lick Melody Motif Ossia Ostinato Period Phrase Recapitulation Repetition Rhythm Beat Meter Tempo Theme Tonality Atonality Related Braille music Chord chart Figured bass Graphic notation Lead sheet Eye music Neume Tablature List of musical symbols

[[File:

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2009)

Dimebag Darrell
Background information
Birth name	Darrell Lance Abbott
Also known as	Diamond Darrell[1]
Born	(1966-08-20)August 20, 1966 Ennis, Texas, U.S.
Died	December 8, 2004(2004-12-08) (aged 38) Columbus, Ohio, U.S.
Genres	Heavy metal, groove metal, thrash metal, southern metal, glam metal
Occupations	Musician, songwriter
Instruments	Guitar, vocals, bass guitar, drums
Years active	1981–2004
Labels	Atco, Big Vin, Elektra
Associated acts	Pantera, Damageplan, Gasoline, Anthrax, Rebel Meets Rebel
Notable instruments
Signature "Dimebag" models issued by Dean and Washburn.

Darrell Lance Abbott (August 20, 1966 – December 8, 2004), also known as Diamond Darrell and Dimebag Darrell, was an American guitarist. He was best known as a founding member of the heavy metal bands Pantera and Damageplan. Abbott also contributed to the album Rebel Meets Rebel, a collaboration between Pantera and David Allan Coe. Darrell is considered to be one of the driving forces behind groove metal. Abbott was shot and killed while on stage during a Damageplan performance on December 8, 2004, at the Alrosa Villa in Columbus, Ohio. He ranked 92 in Rolling Stone Magazine's 100 Greatest Guitarists.^[2]

Biography[link]

Early years[link]

Darrell Abbott was born to Carolyn and Jerry Abbott, a country musician and producer.^[3] He took up guitar when he was 12, and his first guitar was a Hondo Les Paul he got with a small amp. Winning a series of local guitar competitions, most notably held at The Agora Ballroom in Dallas, where he was awarded a Dean ML which he sold to Buddy Blaze who put a Floyd Rose bridge on it and gave it Dimebag's signature lighting bolt paint job and then gave it back to him years later.^{[citation needed]} Coincidentally, his father had bought him a cherryburst finish Dean ML standard the morning before the competition.^{[citation needed]}

Pantera[link]

Abbott formed Pantera in 1981 with his brother Vinnie Paul on drums. The band played with acts such as Slayer, Megadeth, Venom, and Metallica, as well as traditional metal bands such as Black Sabbath, Iron Maiden, Motörhead, and Judas Priest. Pantera subsequently became a key formulator of the post-thrash subgenre of "groove" metal. It would not be until nine years after forming that Pantera saw its first piece of commercial success in its 1990 major label debut, Cowboys from Hell. Pantera's "groove" style came to fruition in its breakthrough album Vulgar Display of Power, released on February 25, 1992, which saw the replacement of the power metal falsetto vocals with a hardcore-influenced shouted delivery and heavier guitar sound. In 1994, Abbott dropped the nickname "Diamond Darrell" and assumed the nickname "Dimebag Darrell." Pantera began to suffer from mounting tensions between band members in the mid-1990s, largely due to vocalist Phil Anselmo's rampant drug abuse. In 2003 the group went on an extended hiatus but never formally broke up.^[4] Anselmo left the band for other projects, such as Superjoint Ritual and Down.

Damageplan[link]

After a year, brothers Vinnie and "Dimebag" formed Damageplan, a heavy metal band which also used the Pantera-style groove metal sound. The Abbott brothers recruited former Halford guitarist Pat Lachman on vocals, and Bob Zilla on bass. Damageplan released its debut album New Found Power in the United States on February 10, 2004, which debuted at number 38 on the Billboard 200, selling 44,676 copies in its first week. When writing music for the new group, "Dimebag" said that "we wanted to stretch out and expand our capabilities to their fullest."^[5]

Other projects[link]

Shortly before singer Phil Anselmo joined Pantera, Abbott was invited by Dave Mustaine to join thrash band Megadeth. Abbott was willing to join, but on the condition that Mustaine also hired his brother Vinnie on drums. As Mustaine had already hired drummer Nick Menza, Abbott stayed with Pantera.

In 1992, Pantera teamed up with Rob Halford (of Judas Priest) for a track called "Light Comes Out of Black". Abbott played all the guitar parts, Rex Brown played bass, Vinnie Paul played drums, Rob Halford sang lead vocals, and Philip Anselmo sang backing vocals. This song was released on the Buffy the Vampire Slayer soundtrack on July 28, 1992. In 1996, Abbott contributed the Ace Frehley song "Fractured Mirror" to the Ace tribute album Spacewalk: A Salute To Ace Frehley. Then in 1997 a new Ace Frehley tribute album called Return Of The Comet: A Tribute to Ace Frehley was released. The two Abbott brothers covered Ace's song "Snowblind" on track 7. On and off between 1996 and the formation of Damageplan, the Abbott brothers and Pantera bassist Rex Brown teamed up with country singer David Allan Coe for a project called Rebel Meets Rebel. The album was released May 2, 2006 on Vinnie's Big Vin Records label.

Abbott played guest guitar solos on several Anthrax songs during their John Bush era: "King Size" & "Riding Shotgun" from Stomp 442, "Inside Out" & "Born Again Idiot" from Volume 8: The Threat Is Real, "Strap It On" and "Cadillac Rock Box" (with a voice intro from Dimebag as well) from We've Come for You All. In an interview, Anthrax bassist Frank Bello said "Darrell was basically the sixth member of Anthrax". Abbott also performed a solo on the titular track of King Diamond's Voodoo album. A sample from a guitar solo by Abbott was used in the Nickelback song "Side of a Bullet", and he also played guitar on Nickelback's cover of Elton John's Saturday Night's Alright for Fighting along with Kid Rock.

In 1999, Pantera recorded a theme tune for their favourite ice hockey team, The Dallas Stars, called 'Puck-Off'. The song was eventually released in 2003 on the album 'Dallas Stars: Greatest Hits'. In 2000, Abbott played the guitar solo on Believer for the new Randy Rhoads tribute album. Vocals were by Sebastian Bach, rhythm guitars by Kane Roberts, drums by Michael Cartellone, and bass by Mike Bringardello. This was the only track that Abbott contributed to on this album.

Shortly before Abbott's death, he went into the studio with a band named Premenishen to do a guest solo on a track titled "Eyes of the South."^[6] He was also confirmed as one of the original guitar player choices for Liquid Tension Experiment by Mike Portnoy.^[7] Abbott's musical roots were in country western music; he supported the local music scene in Dallas and sometimes recorded with local musicians. He played in a country band called Rebel Meets Rebel with country performer David Allan Coe.

In December 2006, a rare track of one of his collaborations was discovered. Abbott had sat in on a recording session with local Dallas musician "Throbbin Donnie" Rodd and recorded "Country Western Transvestite Whore". It features Dimebag on lead guitar and lead vocals.^[8] Abbott and his brother Vinnie Paul along with Rex (during the Pantera Era) and Bob Zilla (Damageplan Era) performed at their New Years party every year under the name "Gasoline", originally the name of a group featuring Dimebag and Vinnie plus Thurber T. Mingus of Pumpjack. Stroker of Pumpjack also played with Gasoline on several occasions. Dimebag, Vinnie and Rex also recorded a cover of the ZZ Top song "Heard It on the X" under the band name "Tres Diablos" for ECW wrestling's Extreme Music soundtrack. In 2012, a previously unreleased track, "Twisted", featuring Dimebag on lead vocals and guitar, was used in a promotional video for Elephant Brand Skateboards' "Dimebag Tribute Skateboard.^[9] "Twisted" was also released as an MP3 download.^[10]

Death[link]

On December 8, 2004, Abbott was shot dead onstage while performing with Damageplan at the Alrosa Villa in Columbus, Ohio. The gunman, Nathan Gale,^[11][12] shot Abbott three times in the head using a 9mm Beretta handgun;^[13] the third shot killed him instantly. Gale continued shooting, killing three others and wounding a further seven. Gale fired a total of fifteen shots, stopping to reload once and remaining silent throughout the shooting.

Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale, as was Alrosa Villa employee Erin Halk. Audience member Nathan Bray was killed while trying to perform CPR on Abbott and Thompson. It was rumored that one crowd member leapt in front of the gunman, saving the lives of several band members.^[14] Damageplan drum technician, John "Kat" Brooks, was shot three times as he attempted to get the gun away from Gale, but was overpowered and taken hostage in a headlock position. Tour manager Chris Paluska was also injured.

Seven police officers came in the front entrance, led by Officer Rick Crum, and moved toward the stage. Officer James D. Niggemeyer came in through the back door, behind the stage. Gale only saw the officers in front of the stage; he didn't see Officer Niggemeyer, who was armed with a 12 gauge Remington 870 shotgun. He approached Gale from the opposite side of the stage to avoid hitting the hostage and fired a single shot just as Gale looked towards Niggemeyer, striking Gale in the face with eight of the nine buckshot pellets, and killing him instantly. Gale was found to have had 35 rounds of ammunition remaining. After Gale was shot, some fans jumped on stage and began spitting on and kicking Gale.

Nurse and audience member Mindy Reece, 28, went to the aid of Abbott, and she and another fan administered CPR until paramedics arrived, but were unable to revive him.

In May 2005, Officer Niggemeyer testified before the Franklin County grand jury, which is routine procedure in Franklin County after a police shooting. The grand jury did not indict Niggemeyer, finding that his actions were justified. Niggemeyer received a commendation from the Ohio Peace Officer Training Commission for his outstanding police work in a time of crisis as well as the National Rifle Association award as 2005 Law Enforcement Officer of the Year. The five other officers that were first on the scene received Ohio distinguished law enforcement medals for their efforts. In 2006 James Niggemeyer penned the foreword to a book written about the event.

Early theories of motive suggested that Gale might have turned to violence in response to the breakup of Pantera, or the public dispute between Abbott and Pantera singer Phil Anselmo, but these were later ruled out by investigators.^[15] Another theory was that Gale believed Abbott had stolen a song that he had written.^[16] In the book, A Vulgar Display Of Power, several of Gale's personal writings, given to the author by his mother, suggest that the gunman was not angry about Pantera's breakup or a belief that Pantera had "stolen songs"; instead, the documents suggest that Gale's paranoid schizophrenia caused delusions that the band could read his mind, and that they were "stealing" his thoughts and laughing at him.

Abbott's grave is located at the Moore Memorial Gardens Cemetery in Arlington, Texas. He is buried alongside his mother. He was buried with Eddie Van Halen's black and yellow-striped Charvel electric guitar (sometimes referred to as "Bumblebee"), which was pictured with Van Halen on the inner sleeve and back cover of the album Van Halen II.^[17] Dimebag had asked for one of these guitars in 2004, shortly before he was shot. Eddie Van Halen originally agreed to make Darrell a copy of the guitar, but upon hearing of Abbott's death, offered to place the actual guitar in his casket. Dimebag was buried in a KISS Kasket. Inspired by the rock 'n' roll group KISS, he requested in his will that he be buried in one of the famous coffins. Kiss co-founder Gene Simmons said, "There were a limited number made and I sent mine to the family of 'Dimebag' Darrell. He requested in his will to be buried in a Kiss Kasket, as he sort of learned his rock 'n' roll roots by listening to us for some strange reason."

Influences and guitar skills[link]

Abbott once said in a Guitar World interview that if there were no Ace Frehley, there would have been no "Dimebag" Darrell - he even had a tattoo of the "KISS" guitarist on his chest.^[18] Frehley signed the tattoo in pen ink upon meeting him, at Dimebag's request, and the autograph was later tattooed over.

In the late 1980s, around the time of Power Metal, Abbott often covered songs by guitarist Joe Satriani, such as "Crushing Day". He also incorporated elements of Satriani songs like "Echo" into his live solos as well. Abbott stated in various interviews, that his riffs were largely influenced by Tony Iommi of Black Sabbath. Iommi influenced Dimebag's tunings, which often went down to C# or lower. Pantera covered Black Sabbath songs "Planet Caravan", "Hole In the Sky" and "Electric Funeral."

Abbott cited thrash giants Anthrax, Metallica, and despite a sometimes vicious feud, Megadeth as primary influences. He was also a fan of Slayer and a good friend of Kerry King. Dimebag mentioned in an interview with Guitar World that the clean chord passages in the intro to Cemetery Gates were influenced by the clean chordal passages found in much of Ty Tabor's (King's X) playing. As with Billy Gibbons, Abbott frequently made use of pentatonic scales and pinch harmonics in both his leads and rhythms. Both guitarists employ blues scales, start / stop dynamics and pedal tones, as in Abbott's southern style riff in "The Great Southern Trendkill" and the main riff to ZZ Top's "Tush".

Randy Rhoads-style chord arpeggios can be heard in much of Abbott's playing as well, noted examples being "Floods", "Shedding Skin", "The Sleep" and "This Love". Three of Abbott's solos were ranked in Guitar World magazine's top 100 of all-time: "Walk" (#57), "Cemetery Gates" (#35), and "Floods" (#15).^[19] Abbott stated that "Eddie Van Halen was heavy rock and roll, but Randy was heavy metal".^[18]

Eddie Van Halen, whom Abbott had befriended, placed his original black with yellow stripes guitar (commonly called "bumblebee") into the Kiss Kasket Abbott was buried in. Abbott had mentioned to Van Halen that he liked that color combination the best of the latter's guitars (the guitar appears on the back sleeve of Van Halen's second album Van Halen II) and Van Halen was going to paint one that way for him. Abbott credited Vito Rulez of Chauncy for convincing him to try Bill Lawrence pickups.

Pete Willis of Def Leppard was seen as another major influence for Darrell. In his Guitar World magazine tribute issue, Abbott was quoted as saying, "Man, that first Leppard album really jams, and their original guitarist, Pete Willis, was a great player. I was inspired by him because I was a small young dude and he was a small young dude, too—and he was out there kickin’ ass. He made me want to get out there and play. Def Leppard used the two-guitar thing much more back then than they do now."^[20]

According to an interview with Dino Cazares of Fear Factory, Abbott told him that during the recording of Reinventing the Steel he compared his guitar tone with Dino's. Incidentally, during the making of Fear Factory's Demanufacture, Cazares compared his guitar tone to that of Vulgar Display of Power.

Equipment[link]

Guitars[link]

Dimebag signature guitar.

Dimebag endorsed Dean Guitars since the 1980s, and played a Dean ML guitar with Bill Lawrence pickups. After Dean's demise in 1994 he signed with Washburn, going back to Dean again in 2004.

Abbott co-designed a guitar with Dean just months before his death. Called the Razorback, it was a modified version of the ML. It is more pointed and has extra barbs on the wings. The design spawned variations, such as a 24-fret version, different paint jobs including a flamed maple top with natural finish, EMG pickups, and also helped with the design of the V-shaped version, the Razorback V (lacking the neck-pointing front wing).

Dean issued a tribute guitar to honor Abbott's death, featuring the tribute logo on the neck, a razor inlay on the 12th fret, and hand-painted "rusty-metal"-style graphics. The pickups include a Dimebucker at the Bridge and a Seymour Duncan 59' at the neck. The tremolo is a Floyd Rose double-locking, and the knobs are the Dimebag Traction knobs. They use all-black hardware, and almost all of them have 22 frets, a Floyd Rose tremolo, Seymour Duncan pickups (including the SH-13 Dimebucker) and set-neck construction.

Legacy[link]

Abbott frequently appeared in guitar magazines and in readers' polls, and wrote a long-running Guitar World magazine column, which was compiled into the book Riffer Madness.^[21] He was praised for his tone and was included in "The 50 Greatest Tones of All Time" by Guitar Player magazine.^[22] Remembered for his amiable nature and rapport with fans, Abbott was described by Allmusic as "one of the most influential stylists in modern metal."^[23]

Tributes[link]

This unreferenced section requires citations to ensure verifiability.

• Ride For Dime Inc, a nationally registered 501 c 3 charity. Formed in 2005, they are currently running 6 nationwide chapters. They host annual motorcycle runs & concerts, with all proceeds going to Little Kids Rock, and towards funding the Ride For Dime Scholarship Fund. Ride For Dime is the only charity recognized and supported by the Abbott Estate. Visit them at www.ridefordime.org
• Thrash metal band Evile did a cover of "Cemetery Gates" as tribute to Dimebag Darrell.
• Funk metal band 24-7 Spyz paid tribute to Darrell on their album Face the Day with an instrumental song called "Blues For Dimebag".
• Creed and Alter Bridge guitarist Mark Tremonti has a picture under the bridge of one of his PRS guitars showing a tribute to "Dimebag" Darrell.
• Country rock band Cross Canadian Ragweed debuted the song "Dimebag" while on tour to promote the album Garage. The band performed the song live for the first time at the Newport Music Hall in Columbus, Ohio in early 2005.
• Michael Angelo Batio, another Dean guitar endorser, arranged three of Pantera's songs into a medley for a track called "Tribute to Dimebag" in his album, Hands Without Shadows 2 - Voices.
• A live version of Shinedown cover of "Simple Man" is dedicated to Dimebag Darrell.
• Trivium's album, The Crusade, says at the bottom of the final page, "Rest in peace Dimebag Darrell Abbott (1966-2004). Trivium also covered a small section of the Pantera song "Domination" during the Roadrunner United's Concert DVD.
• Disturbed in their 2005 release Ten Thousand Fists stated: "We would like to dedicate this record to the memory of our late fallen brother, Dimebag Darrell, one of the greatest guitar players to ever walk the face of this Earth. During their 2011 performance at Download Festival (UK), the band also dedicated a performance of Ten Thousand Fists to Dimebag." The band also performed a cover of "Walk" during the 2011 tour of Mayhem Festival.
• French metal band Watcha dedicated a song on the album "Phenix" called "Dimebag". The lyrics contain many titles of Pantera albums.
• Guitarist Buckethead wrote "Dime", a song paying tribute to Abbott, which was available for free download shortly after Abbott's death. The song later made it onto Buckethead's album.Kaleidoscalp, titled "The Android of Notre Dame".^[24]
• He Came to Rock is a DVD/book tribute to Abbott released in November 2008. Darrell's brother Vinnie Paul and father Jerry toured to promote the book's release.^[25]
• The booklet in C.O.C.'s In the Arms of God album says "R.I.P. Dime" at the bottom of the last page.
• The song "Side of a Bullet" by Nickelback is a tribute to Dimebag; it takes place in a world where the killer is still alive and has lyrics such as, "He hit the stage so full of rage and let the whole world know it/6 feet away they heard him say/Oh God, don't let him pull it." An unreleased solo recorded by Dimebag, intended for Damageplan, was mixed into the song.
• Metal band Machine Head dedicated a song to Dimebag on their album The Blackening, called Aesthetics of Hate. The song's lyrics are meant as a vicious retaliation against the Christian-conservative website The Iconoclast, which hosted an article of the same name bashing Darrell after his death. Also, on their tour with this album, they honored Dimebag during a concert by taking time to tell Dime's story. "Aesthetics of Hate" remains a mainstay on tour and is always dedicated to the memory of Darrell. Robb Flynn was a friend of Darrell's, who also took the time to remark both on how talented and how generous he was - reportedly, Robb owns a custom-made Washburn Dimebag guitar which was given to him as a replacement after Dimebag broke his touring guitar, but can't use it on stage due to contract disagreements. He used this guitar to record "Aesthetics of Hate". Machine Head have also recorded a cover of the Pantera song "Fucking Hostile" for the Metal Hammer magazine tribute CD.^[26]
• Static-X's album Start A War was dedicated to Dimebag Darrell as it says in the inner booklet of the CD.
• In Avenged Sevenfold's City of Evil album, the song "Betrayed" is labeled as "In memory of Darrell Lance Abbott-"Dimebag Darrell". Avenged Sevenfold also did a cover of the Pantera song "Walk", and played live Mouth For War. During their 2011 performance at Download Festival (UK), Avenged Sevenfold dedicated a live performance of "Betrayed" to both Dimebag and their own fallen band mate The Rev also playing Nightmare
• The 2006 album Garage, by Cross Canadian Ragweed, features the song "Dimebag", which is about "Dimebag" Darrell and makes references to his songs and death.
• Crowbar dedicated their 2005 album Lifesblood for the Downtrodden to Dimebag Darrell.
• Argentinian band Carajo on live performances plays a medley with the songs Domination, Walk, Cowboys From Hell, Five Minutes Alone and Mouth For War.
• In 2006, Malibu punk/metal band 2Cents released Lost at Sea (Atlantic Records), which features a tribute song to Abbott titled "A Song for Darrell Abbott".
• Finnish metal band Kiuas´ song "Bleeding Strings" from their 2006 album Reformation is dedicated to Dimebag Darrell.
• Phil Anselmo's band Down now dedicates the song "Lifer" from NOLA to Dimebag Darrell when performed live.
• Black Label Society now dedicates the song "In This River" to Dimebag.
• Brides Of Destruction paid tribute to Dimebag Darrell on their 2005 release, Runaway Brides, with the track "Dimes in Heaven".
• The lyrics of metal band Abnormality's 2007 song "Visions" are about Dimebag Darrel's death.
• The song "Leave it Alone" (with Jason Bittner, David Ellefson, Tristan "1690" Grigsby, Nick Bowcott and Brian Cashmore) is a tribute to Dimebag Darrell.
• The progressive death metal band Between the Buried and Me did a cover of "Cemetery Gates" on their album The Anatomy of.
• While playing in Hammersmith in 2004, Melodic Death Metal band In Flames played a cover of "Fucking Hostile" and dedicated it to the memory of Dimebag Darrell.
• During Gigantour 2005, Dream Theater did a cover of Pantera's "Cemetery Gates" as a tribute to "Dimebag" Darrel Lance Abbott. As an added bonus, they had Burton C. Bell of Fear Factory, and Russell Allen of Symphony X do guest vocals and Dave Mustaine of Megadeth, do the main solo for the song.
• Brazilian death metal band Krisiun dedicated their 2006 album AssassiNation to the memory of Dimebag and late Vader drummer Doc.
• The 2009 album 11:11 by Rodrigo y Gabriela features a tribute track named "Atman" inspired by Dimebag.
• Ace Frehley's 2009 solo album Anomaly is dedicated to Dimebag.
• Ripper's 2009 album 'The Dead Have Rizen' is dedicated to Dimebag.
• Slayer guitarist Kerry King drinks a shot at the end of live performances as a tribute to Darrell and usually leaves one shot on stage "for Dime".
• Type O Negative played "Halloween in Heaven" off of the Dead Again album as a tribute to Dimebag when playing live.
• Brian Welch (former guitarist of the band Korn) made an only-guitar song dedicated to Dimebag called "Letter to Dimebag".
• The booklet in the Evanescence album The Open Door, in Terry Balsamo's section says "..R.I.P dimebag."
• Guitar Hero II for Xbox 360 has an achievement named "Dimebag Darrell Award", when the player gets a 100-note streak on any song.
• Dimebag is frequently tributed by amateur bands all over the world through covers of Pantera and Damageplan songs.
• A tribute album (known as Getcha Pull: A Tribute to Dimebag Darrell) by UK magazine Metal Hammer honored Dimebag. It came along with the magazine, which went on sale December 16, 2009.
• Blaze Bayley's song Dimebag from his 2012 solo album The King of Metal is a tribute to Darrell and tells the story of his shooting.
• Elephant Brand Skateboards released a Dimebag Tribute Skateboard in 2012. The board features Dimebag Darrell playing a guitar on the bottom of the board. A previously unreleased song, Twisted, that features Dimebag on lead vocals and guitar was used in the skateboard's promotional video.^[9]

Discography and filmography[link]

Abbott performed on Anthrax albums, including Stomp 442 (1995); Volume 8: The Threat Is Real (1998); the Inside Out EP (1998) and We've Come for You All (2003). With Damageplan, Abbott played on the Devastation Sampler (2003) and on the album New Found Power (2004). With Pantera, Abbott recorded a number of albums, EPs, singles, and videos, including Power Metal (1988); Cowboys from Hell (1990); Vulgar Display of Power (1992); and Hostile Moments (1994). He also recorded albums under his own name, including Country Western Transvestite Whore and Supercop Soundtrack (1996) and he recorded a country music album titled Rebel Meets Rebel (2004).

References[link]

External links[link]

Wikimedia Commons has media related to: Dimebag Darrell

• Official Damageplan website
• Official Pantera website
• Official Rebel Meets Rebel site
• Obituary by Sebastian Bach
• Obituary in the Columbus Dispatch