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c_6dg18k2l2l2x | In music theory, the harmonic major scale is a musical scale found in some music from the common practice era and now used occasionally, most often in jazz. In George Russell's Lydian Chromatic Concept it is the fifth mode (V) of the Lydian Diminished scale. It corresponds to the Raga Sarasangi in Indian Carnatic music... | Harmonic major scale |
c_hlq8rzmt7h02 | It can be considered a major scale with the sixth degree lowered, Ionian ♭6, or the harmonic minor scale with the third degree raised. The intervals between the notes of a harmonic major scale follow the sequence below: whole, whole, half, whole, half, augmented second, halfThe harmonic major scale may be used to const... | Harmonic major scale |
c_se847ysjocra | The harmonic major scale has its own set of modes, distinct from the harmonic minor, melodic minor, and major modes, depending on which note serves as the tonic. Below are the mode names, their degrees, and the following seventh chords that can be built using each modal tonic or degree of the parent mode as the root: a... | Harmonic major scale |
c_4ax33k39tpe6 | For example, a D-flat major scale consists of the notes: D♭ E♭ F G♭ A♭ B♭ C; whereas a D-flat harmonic major scale consists of the notes: D♭ E♭ F G♭ A♭ B C. Notice the sixth note in the sequence is lowered, from B♭ to B. The C-sharp harmonic major scale can also be obtained from the C-sharp harmonic minor scale, which ... | Harmonic major scale |
c_332eaplzq64f | The harmonic major scale may be used in any system of meantone tuning, such as 19 equal temperament or 31 equal temperament, as well as 12 equal temperament. One interesting property of this scale is that for any diatonic scale, there is a relative major or minor mode, and if each of these is made harmonic major or har... | Harmonic major scale |
c_je8u7wlacx59 | Also, another enharmonic mode of the scale is the Jazz Minor b5 scale (Jeths's mode) (B in C Harmonic Major, Cb in F Jazz Minor b5). Like the familiar major, melodic minor, and harmonic minor scales, the harmonic major scale has the diatonic thirds property, which means that the interval between notes two steps apart (... | Harmonic major scale |
c_0qlp1r14hn68 | This property implies that chords formed by taking every other note from some consecutive subset of the scale are triadic, raising the possibility of using tertian harmony together with melodic material from such a scale. The harmonic major scale is also one of the five proper seven-note scales of equal temperament. Li... | Harmonic major scale |
c_b6f9yjjbbf9e | In music theory, the interval or perceptual difference between two tones is determined by the ratio of their frequencies. Intervals coming from rational number ratios with small numerators and denominators are perceived as particularly euphonious. The simplest and most important of these intervals is the octave, a freq... | Binary logarithm |
c_1i9bwaf7eglr | That is, if tones x, y, and z form a rising sequence of tones, then the measure of the interval from x to y plus the measure of the interval from y to z should equal the measure of the interval from x to z. Such a measure is given by the cent, which divides the octave into 1200 equal intervals (12 semitones of 100 cent... | Binary logarithm |
c_pps6dfp6527f | In music theory, the just intonation of the diatonic scale involves regular numbers: the pitches in a single octave of this scale have frequencies proportional to the numbers in the sequence 24, 27, 30, 32, 36, 40, 45, 48 of nearly consecutive regular numbers. Thus, for an instrument with this tuning, all pitches are r... | Hamming numbers |
c_mfcf62i45s60 | Euler's tonnetz provides a convenient graphical representation of the pitches in any 5-limit tuning, by factoring out the octave relationships (powers of two) so that the remaining values form a planar grid. Some music theorists have stated more generally that regular numbers are fundamental to tonal music itself, and ... | Hamming numbers |
c_75v0mj40s1x5 | However the equal temperament of modern pianos is not a 5-limit tuning, and some modern composers have experimented with tunings based on primes larger than five.In connection with the application of regular numbers to music theory, it is of interest to find pairs of regular numbers that differ by one. There are exactl... | Hamming numbers |
c_f3ggh8bnid0p | In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music. Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that ... | Musical key |
c_x3fuyqy95kv9 | The key may be in the major or minor mode, though musicians assume major when this is not specified; for example "This piece is in C" implies that the key of the piece is C major. Popular songs and classical music from the common practice period are usually in one key. Longer pieces in the classical repertoire may have... | Musical key |
c_yw5tpuv1dhxb | In music theory, the middle eight or bridge is the B section of a 32-bar form. This section has a significantly different melody from the rest of the song and usually occurs after the second "A" section in the AABA song form. It is also called a middle eight because it happens in the middle of the song and the length i... | 32 bar form |
c_e7mbfink2rf1 | In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – mirroring the major scale, with its harmonic and melodic forms In each of these scales, the first, third, and fifth scale degrees form a... | Melodic minor scale |
c_kpvs80gnp260 | In music theory, the recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition. This material is most often recapitulated in the tonic key of the movem... | Recapitulation (music) |
c_rrkd4kaf3h4s | In some sonata form movements, the recapitulation presents a straightforward image of the movement's exposition. However, many sonata form movements, even early examples, depart from this simple procedure. Devices used by composers include incorporating a secondary development section, or varying the character of the o... | Recapitulation (music) |
c_6e4ih2zgacvh | In music theory, the scale degree is the position of a particular note on a scale relative to the tonic—the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor. In the most general sense... | Scale degrees |
c_l6bcpce8ux6w | For instance, the 7-tone diatonic scale may become the major scale once the proper degree has been chosen as tonic (e.g. the C-major scale C–D–E–F–G–A–B, in which C is the tonic). If the scale has no tonic, the starting degree must be chosen arbitrarily. In set theory, for instance, the 12 degrees of the chromatic scal... | Scale degrees |
c_cog0f4bxt2g4 | In a more specific sense, scale degrees are given names that indicate their particular function within the scale (see table below). This implies a functional scale, as is the case in tonal music. This example gives the names of the functions of the scale degrees in the seven note diatonic scale. | Scale degrees |
c_7qs238nr2yli | The names are the same for the major and minor scales, only the seventh degree changes name when flattened: The term scale step is sometimes used synonymously with scale degree, but it may alternatively refer to the distance between two successive and adjacent scale degrees (see steps and skips). The terms "whole step"... | Scale degrees |
c_svjdxlcma9js | In music theory, the spiral array model is an extended type of pitch space. A mathematical model involving concentric helices (an "array of spirals"), it represents human perceptions of pitches, chords, and keys in the same geometric space. It was proposed in 2000 by Elaine Chew in her MIT doctoral thesis Toward a Math... | Spiral array model |
c_jvjclpxlijuc | The extensions and applications are described in Mathematical and Computational Modeling of Tonality: Theory and Applications.The spiral array model can be viewed as a generalized tonnetz, which maps pitches into a two-dimensional lattice (array) structure. The spiral array wraps up the two-dimensional tonnetz into a t... | Spiral array model |
c_prnczo05ojly | For example, it is possible to model and measure geometrically the distance between a particular pitch and a particular key, both represented as points in the spiral array space. To preserve pitch spelling, because musically A# ≠ Bb in their function and usage, the spiral array does not assume enharmonic equivalence, i... | Spiral array model |
c_t6zhbtyhai74 | In music theory, the syntonic comma, also known as the chromatic diesis, the Didymean comma, the Ptolemaic comma, or the diatonic comma is a small comma type interval between two musical notes, equal to the frequency ratio 81:80 (= 1.0125) (around 21.51 cents). Two notes that differ by this interval would sound differe... | Syntonic comma |
c_5hkrbp82nndu | In music theory, the term mode or modus is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including ... | Musical mode |
c_g90ywfr4xq3v | Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek tonoi do not otherwise resemble their mediaeval... | Musical mode |
c_2idxo9pks547 | Modal rhythm was an essential feature of the modal notation system of the Notre-Dame school at the turn of the 12th century. In the mensural notation that emerged later, modus specifies the subdivision of the longa. Outside of Western classical music, "mode" is sometimes used to embrace similar concepts such as Octoech... | Musical mode |
c_tmckamq4kntx | In music theory, the tritone is defined as a musical interval composed of three adjacent whole tones (six semitones). For instance, the interval from F up to the B above it (in short, F–B) is a tritone as it can be decomposed into the three adjacent whole tones F–G, G–A, and A–B. Narrowly defined, each of these whole t... | Tritone |
c_80r5rsyih3xv | More broadly, a tritone is also commonly defined as any interval with a width of three whole tones (spanning six semitones in the chromatic scale), regardless of scale degrees. According to this definition, a diatonic scale contains two tritones for each octave. For instance, the above-mentioned C major scale contains ... | Tritone |
c_ylz11oc33cpf | In twelve-equal temperament, the tritone divides the octave exactly in half as 6 of 12 semitones or 600 of 1,200 cents.In classical music, the tritone is a harmonic and melodic dissonance and is important in the study of musical harmony. The tritone can be used to avoid traditional tonality: "Any tendency for a tonalit... | Tritone |
c_n74r4ohgf5ua | These various uses exhibit the flexibility, ubiquity, and distinctness of the tritone in music. The condition of having tritones is called tritonia; that of having no tritones is atritonia. A musical scale or chord containing tritones is called tritonic; one without tritones is atritonic. | Tritone |
c_q4b2g2n8ifvy | In music theory, the wolf fifth (sometimes also called Procrustean fifth, or imperfect fifth) is a particularly dissonant musical interval spanning seven semitones. Strictly, the term refers to an interval produced by a specific tuning system, widely used in the sixteenth and seventeenth centuries: the quarter-comma me... | Wolf interval |
c_2ve266iwd7ke | In mean-tone systems, this interval is usually from C♯ to A♭ or from G♯ to E♭ but can be moved in either direction to favor certain groups of keys. The eleven perfect fifths sound almost perfectly consonant. Conversely, the diminished sixth is severely dissonant and seems to howl like a wolf, because of a phenomenon ca... | Wolf interval |
c_vmvp8s5v4w5b | Since the diminished sixth is meant to be enharmonically equivalent to a perfect fifth, this anomalous interval has come to be called the wolf fifth. Besides the above-mentioned quarter comma meantone, other tuning systems may produce severely dissonant diminished sixths. Conversely, in 12-tone equal temperament, which... | Wolf interval |
c_4e0dc3zwe68q | In music theory, voicing refers to two closely related concepts: How a musician or group distributes, or spaces, notes and chords on one or more instruments The simultaneous vertical placement of notes in relation to each other; this relates to the concepts of spacing and doublingIt includes the instrumentation and ver... | Chord voicing |
c_vhl7lzrqmaua | In music using the twelve tone technique, combinatoriality is a quality shared by twelve-tone tone rows whereby each section of a row and a proportionate number of its transformations combine to form aggregates (all twelve tones). Much as the pitches of an aggregate created by a tone row do not need to occur simultaneo... | All-combinatorial hexachord |
c_an9el7zhjtgj | "Derivation refers to a process whereby, for instance, the initial trichord of a row can be used to arrive at a new, 'derived' row by employing the standard twelve-tone operations of transposition, inversion, retrograde, and retrograde-inversion. "Combinatorial properties are not dependent on the order of the notes wit... | All-combinatorial hexachord |
c_wd0a0vepu4bw | In music using the twelve-tone technique, derivation is the construction of a row through segments. A derived row is a tone row whose entirety of twelve tones is constructed from a segment or portion of the whole, the generator. Anton Webern often used derived rows in his pieces. A partition is a segment created from a... | Degree of symmetry |
c_tfh74fketw3o | In music, "dynamics" normally refers to variations of intensity or volume, as may be measured by physicists and audio engineers in decibels or phons. In music notation, however, dynamics are not treated as absolute values, but as relative ones. Because they are usually measured subjectively, there are factors besides a... | Music Theory |
c_3r8l4envrseh | The conventional indications of dynamics are abbreviations for Italian words like forte (f) for loud and piano (p) for soft. These two basic notations are modified by indications including mezzo piano (mp) for moderately soft (literally "half soft") and mezzo forte (mf) for moderately loud, sforzando or sforzato (sfz) ... | Music Theory |
c_0tk3kz8mns16 | In music, "noise" has been variously described as unpitched, indeterminate, uncontrolled, convoluted, unmelodic, loud, otherwise unmusical, or unwanted sound, or simply as sound in general. The exact definition is often a matter of both cultural norms and personal tastes. Noise is an important component of the sound of... | Noise in music |
c_n0pvnaiiyo5z | Traditional uses of noise are unrestricted, using all the frequencies associated with pitch and timbre, such as the white noise component of a drum roll on a snare drum, or the transients present in the prefix of the sounds of some organ pipes. The influence of modernism in the early 20th century lead composers such as... | Noise in music |
c_a98w12vm2yh0 | Later in the 20th century the term noise music came to refer to works consisting primarily of noise-based sound. In more general usage, noise is any unwanted sound or signal. In this sense, even sounds that would be perceived as musically ordinary in another context become noise if they interfere with the reception of ... | Noise in music |
c_huj1g1ny6wrg | In music, 15 equal temperament, called 15-TET, 15-EDO, or 15-ET, is a tempered scale derived by dividing the octave into 15 equal steps (equal frequency ratios). Each step represents a frequency ratio of 15√2 (=2(1/15)), or 80 cents (). Because 15 factors into 3 times 5, it can be seen as being made up of three scales ... | 15 equal temperament |
c_yvdzbt4gbc2o | In music, 17 tone equal temperament is the tempered scale derived by dividing the octave into 17 equal steps (equal frequency ratios). Each step represents a frequency ratio of 17√2, or 70.6 cents. 17-ET is the tuning of the regular diatonic tuning in which the tempered perfect fifth is equal to 705.88 cents, as shown ... | 17 equal temperament |
c_d46rdumhlirz | In music, 19 Tone Equal Temperament, called 19 TET, 19 EDO ("Equal Division of the Octave"), 19-ED2 ("Equal Division of 2:1) or 19 ET, is the tempered scale derived by dividing the octave into 19 equal steps (equal frequency ratios). Each step represents a frequency ratio of 19√2, or 63.16 cents (). The fact that tradi... | 19-tone equal temperament |
c_h0kb1ucg5imq | In music, 22 equal temperament, called 22-TET, 22-EDO, or 22-ET, is the tempered scale derived by dividing the octave into 22 equal steps (equal frequency ratios). Each step represents a frequency ratio of 22√2, or 54.55 cents (). When composing with 22-ET, one needs to take into account a variety of considerations. | 22 equal temperament |
c_dk0volilpiyg | Considering the 5-limit, there is a difference between 3 fifths and the sum of 1 fourth + 1 major third. It means that, starting from C, there are two A's - one 16 steps and one 17 steps away. There is also a difference between a major tone and a minor tone. | 22 equal temperament |
c_vq19s1anjspb | In C major, the second note (D) will be 4 steps away. However, in A minor, where A is 6 steps below C, the fourth note (D) will be 9 steps above A, so 3 steps above C. So when switching from C major to A minor, one need to slightly change the note D. These discrepancies arise because, unlike 12-ET, 22-ET does not tempe... | 22 equal temperament |
c_bqa0546gdhfj | Also the septimal subminor third (7/6) is different from the minor third (6/5). This mapping tempers out the septimal comma of 64/63, which allows 22-ET to function as a "Superpythagorean" system where four stacked fifths are equated with the septimal major third (9/7) rather than the usual pental third of 5/4. This sy... | 22 equal temperament |
c_9z2ml9vth8zq | Instead of tempering the fifth narrow so that intervals of 5 are simple while intervals of 7 are complex, the fifth is tempered wide so that intervals of 7 are simple while intervals of 5 are complex. The enharmonic structure is also reversed: sharps are sharper than flats, similar to Pythagorean tuning, but to a great... | 22 equal temperament |
c_i1e4l1itk2l1 | In music, 23 equal temperament, called 23-TET, 23-EDO ("Equal Division of the Octave"), or 23-ET, is the tempered scale derived by dividing the octave into 23 equal steps (equal frequency ratios). Each step represents a frequency ratio of 23√2, or 52.174 cents. This system is the largest EDO that has an error of at lea... | 23 equal temperament |
c_tndz61bnrw6u | In music, 31 equal temperament, 31-ET, which can also be abbreviated 31-TET (31 tone ET) or 31-EDO (equal division of the octave), also known as tricesimoprimal, is the tempered scale derived by dividing the octave into 31 equal-sized steps (equal frequency ratios). Each step represents a frequency ratio of 31√2, or 38... | 31 equal temperament |
c_8ikor4evqobr | In music, 41 equal temperament, abbreviated 41-TET, 41-EDO, or 41-ET, is the tempered scale derived by dividing the octave into 41 equally sized steps (equal frequency ratios). Each step represents a frequency ratio of 21/41, or 29.27 cents (), an interval close in size to the septimal comma. 41-ET can be seen as a tun... | 41 equal temperament |
c_azk5vdmc2n3r | In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps (equal frequency ratios). Each step represents a frequency ratio of 21⁄53, or 22.6415 cents (), an interval sometimes called the Holdrian comma. 53-TET is a tuning of equal temperame... | Mercator's comma |
c_nesxofajjj80 | The 53-TET tuning equates to the unison, or tempers out, the intervals 32805⁄32768, known as the schisma, and 15625⁄15552, known as the kleisma. These are both 5 limit intervals, involving only the primes 2, 3 and 5 in their factorization, and the fact that 53 ET tempers out both characterizes it completely as a 5 limi... | Mercator's comma |
c_kugokdp0uu6a | In music, 58 equal temperament (also called 58-ET or 58-EDO) divides the octave into 58 equal parts of approximately 20.69 cents each. It is notable as the simplest equal division of the octave to faithfully represent the 17-limit, and the first that distinguishes between all the elements of the 11-limit tonality diamo... | 58 equal temperament |
c_g5x814cpy3mo | Compared to 72-EDO, which is also consistent in the 17-limit, 58-EDO's approximations of most intervals are not quite as good (although still workable). One obvious exception is the perfect fifth (slightly better in 58-EDO), and another is the tridecimal minor third (11:13), which is significantly better in 58-EDO than... | 58 equal temperament |
c_l8ud5w957ut3 | On the other hand, 58-EDO tempers out 144:143 instead of 169:168, so 14:13 and 13:12 are left distinct, but 13:12 and 12:11 are equated. 58-EDO, unlike 72-EDO, is not a multiple of 12, so the only interval (up to octave equivalency) that it shares with 12-EDO is the 600-cent tritone (which functions as both 17:12 and 2... | 58 equal temperament |
c_bc3j6g78kjtw | In music, 72 equal temperament, called twelfth-tone, 72-TET, 72-EDO, or 72-ET, is the tempered scale derived by dividing the octave into twelfth-tones, or in other words 72 equal steps (equal frequency ratios). Each step represents a frequency ratio of 72√2, or 16+2⁄3 cents, which divides the 100 cent "halftone" into 6... | 72 equal temperament |
c_9a3jnkpheftc | Since it contains so many temperaments, 72-EDO contains at the same time tempered semitones, third-tones, quartertones and sixth-tones, which makes it a very versatile temperament. This division of the octave has attracted much attention from tuning theorists, since on the one hand it subdivides the standard 12 equal t... | 72 equal temperament |
c_p1gsjtclby2m | In music, 96 equal temperament, called 96-TET, 96-EDO ("Equal Division of the Octave"), or 96-ET, is the tempered scale derived by dividing the octave into 96 equal steps (equal frequency ratios). Each step represents a frequency ratio of 2 96 {\displaystyle {\sqrt{2}}} , or 12.5 cents. Since 96 factors into 1, 2, 3, 4... | 96 equal temperament |
c_awwzaev83btm | In music, Finnish folk metal band Ensiferum wrote three songs based on/about Väinämöinen, called "Old Man", "Little Dreamer" and "Cold Northland". There is also a direct reference to him in their song "One More Magic Potion", where they have written "Who can shape a kantele from a pike's jaw, like the great One once di... | Väinämöinen |
c_8m0oecjwoiol | It is a concept album based on the myths and stories of Väinämöinen. Yet another well-known Finnish metal band, Korpiklaani has released a song about the death of Väinämöinen, Tuonelan Tuvilla, as well as an English version named "At The Huts of the Underworld". A song on the album Archipelago by Scottish electronic ja... | Väinämöinen |
c_08mk57eux1qv | In music, a 1/16, sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation.Sixteenth notes are notated with an oval, filled-in note head and a stra... | 16th note |
c_z9ouuk4tqhfz | As with all notes with stems, sixteenth notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the musical staff (or on the middle line, in vocal music). When they are on the middle line (in instrumental music) or above it, they are drawn with stems on the left of the... | 16th note |
c_7wgmyzusw2e5 | On stems facing up, the flags start at the top and curve down; for downward facing stems, the flags start at the bottom of the stem and curve up. When multiple sixteenth notes or eighth notes (or thirty-second notes, etc.) are next to each other, the flags may be connected with a beam, like the notes in Figure 2. Note ... | 16th note |
c_jy8v8cr3njel | Similar rules apply to smaller divisions such as thirty-second notes (demisemiquavers) and sixty-fourth notes (hemidemisemiquavers). In Unicode, U+266C (♬) is a pair of beamed semiquavers. The note derives from the semifusa in mensural notation. However, semifusa also designates the modern sixty-fourth note in Spanish,... | 16th note |
c_vn43e043tri6 | In music, a Catalan shawm is one of two varieties of shawm, an oboe-like woodwind musical instrument played in Catalonia in northeastern Spain. | Catalan shawm |
c_v3dpe8nwuusp | In music, a barre chord (also spelled bar chord) is a type of chord on a guitar or other stringed instrument played by using one finger to press down multiple strings across a single fret of the fingerboard (like a bar pressing down the strings). Players often use this chording technique to play a chord that is not res... | Barre chord |
c_qaibtdtsra9v | Most barre chords are "moveable" chords, as the player can move the whole chord shape up and down the neck. Commonly used in both popular and classical music, barre chords are frequently used in combination with "open" chords, where the guitar's open (unfretted) strings construct the chord. Playing a chord with the bar... | Barre chord |
c_j38ymh9ol7f8 | A closed, or fretted, note sounds slightly different from an open, unfretted, string. Barre chords are a distinctive part of the sound of pop music and rock music. | Barre chord |
c_qkw45vwi1vc0 | Using the barre technique, the guitarist can fret a familiar open chord shape, and then transpose, or raise, the chord a number of half-steps higher, similar to the use of a capo. For example, when the current chord is an E major and the next is an F♯ major, the guitarist barres the open E major up two frets (two semit... | Barre chord |
c_p3wztitc48lc | In music, a blind octave is the alternate doubling above and below a successive scale or trill notes: "the passage being played...alternately in the higher and lower octave." According to Grove's Dictionary of Music and Musicians, the device is not to be introduced into the works of "older composers" (presumably those ... | Blind octave |
c_mzdlp6qlkaso | In music, a bowhammer is a device used when playing a cymbalum to strike, pull across or pick the strings in order to make them vibrate and emit sound. It was devised to replace the mallets that were traditionally used to play the cymbalum. Unlike mallets, which almost exclusively are used for striking, the bowhammer a... | Bowhammer |
c_19l6yvdbu2kn | Bowhammers are typically worn in groups of eight, one on each finger except the thumb. The tension on the bow allows the player to stroke the string or strike it. Additionally the string can be plucked it with the end of the bowhammer. | Bowhammer |
c_huno6pqmyp4j | The bowhammer is a recent musical invention created by the musician Michael Masley, who is the premiere user of this tool. The sound generated is significantly different from that generated by the traditional hammering of the cymbalom, that the artist considers the bowhammer cymbalom a specific instrument. The bowhamme... | Bowhammer |
c_y0dx2s3uga0a | In music, a cadenza (from Italian: cadenza , meaning cadence; plural, cadenze ) is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing virtuosic display. During this time the accompaniment will rest, or sustain a n... | Cadenza |
c_o6asia04sucx | In music, a chop chord is a "clipped backbeat". In 44: 1 2 3 4. It is a muted chord that marks the off-beats or upbeats. | Chop chord |
c_4i1y1tuuvugn | As a rhythm guitar and mandolin technique, it is accomplished through chucking, in which the chord is muted by lifting the fretting fingers immediately after strumming, producing a percussive effect. The chop is analogous to a snare drum beat and keeps the rhythm together and moving. It's one of the innovations bluegra... | Chop chord |
c_on09dg1t93ay | Traditional bluegrass bands typically do not have a drummer, and the timekeeping role is shared between several instruments. The upright bass generally plays the on-beats, while the banjo keeps a steady eighth-note rhythm. The mandolin plays chop chords on the off-beats or upbeats. | Chop chord |
c_hynzyllb7jkf | (see: boom-chick) By partially relaxing the fingers of the left hand soon after strumming, the strings are allowed to rise off the frets, and their oscillations are damped by the fingers. All strings are stopped (fingered); open strings are not played in chop chords. The offbeat was played on the piano in rhythm and bl... | Chop chord |
c_8u0tpjkkr4ou | This popular, danceable shuffle style was present on many early rock and roll records. It was played on the electric guitar at least as early as 1950 by Robert Kelton on Jimmy McCracklin's "Rockin' All Day." Either played on the guitar, piano or both, the "chop", "chuck" or "skank" offbeat eventually influenced Jamaica... | Chop chord |
c_0f7glpsit0e5 | In music, a chorale prelude or chorale setting is a short liturgical composition for organ using a chorale tune as its basis. It was a predominant style of the German Baroque era and reached its culmination in the works of J.S. Bach, who wrote 46 (with a 47th unfinished) examples of the form in his Orgelbüchlein, along... | Chorale prelude |
c_ux1qlksd7e95 | In music, a chord diagram (also called a fretboard diagram or fingering diagram) is a diagram indicating the fingering of a chord on fretted string instruments, showing a schematic view of the fretboard with markings for the frets that should be pressed when playing the chord. Instruments that commonly use this notatio... | Chord diagram (music) |
c_2w7t1a16we02 | In music, a closely related key (or close key) is one sharing many common tones with an original key, as opposed to a distantly related key (or distant key). In music harmony, there are six of them: four of them share all the pitches with a key with which it is being compared, one of them share all except one, and one ... | Distant key |
c_2hf0immjmhsu | No piece dared wander too far from its tonic key, and no piece in a four-movement form dared to present a tonality not closely related to the key of the whole series." For example, the first movement of Mozart's Piano Sonata No. 7, K. 309, modulates only to closely related keys (the dominant, supertonic, and submediant... | Distant key |
c_7839wmy5dkm7 | In the key of A minor, when we translate them to keys, we get: A major (I) C major (III) D minor (iv) E minor (v) F major (VI) G major (VII)Another view of closely related keys is that there are six closely related keys, based on the tonic and the remaining triads of the diatonic scale, excluding the dissonant diminish... | Distant key |
c_pvuui6f9je2v | Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key. In modern music, the closeness of a relation between any two keys or sets of ... | Distant key |
c_qto247pyt1ip | However, modulating up a tritone would produce F♯, G♯, A♯, C♯, D♯, which shares no common tones with the original scale. Thus the scale a fifth higher is very closely related, while the scale a tritone higher is not. Other modulations may be placed in order from closest to most distant depending upon the number of comm... | Distant key |
c_hzb5wmcr60nz | Another view in modern music, notably in Bartók, a common tonic produces closely related keys, the other scales being the six other modes. This usage can be found in several of the Mikrokosmos piano pieces. When modulation causes the new key to traverse the bottom of the circle of fifths this may give rise to a theoret... | Distant key |
c_jr5f0s3zy8dq | In music, a cloud is a sound mass consisting of statistical clouds of microsounds and characterized first by the set of elements used in the texture, secondly density, including rhythmic and pitch density. Clouds may include ambiguity of rhythmic foreground and background or rhythmic hierarchy. Examples include: Iannis... | Cloud generator |
c_iihriy2ohyhe | In music, a common tone is a pitch class that is a member of, or common to (shared by) two or more chords or sets. Typically, it refers to a note shared between two chords in a chord progression. According to H.E. | Common tone (chord) |
c_dxlslv2nftuj | Woodruff: Any tone contained in two successive chords is a common tone. Chords written upon two consecutive degrees of the scale can have no tones in common. All other chords have common tones. | Common tone (chord) |
c_rqaqjgyqw6ju | Common tones are also called connecting tones, and in part-writing, are to be retained in the same voice. Chords which are four or five degrees apart have one common tone. Chords which are three or six degrees apart have two common tones. | Common tone (chord) |
c_ryx6bia2ob3a | Chords which are one or seven degrees apart have no tone in common. (Woodruff 1899, p. 61) The example below shows the seven diatonic triads of C major. The common tones between the tonic triad and the other six triads are highlighted in blue. As Woodruff describes, the tonic triad shares no common tones with either II... | Common tone (chord) |
c_jk6kwy8yvfs6 | In music, a common tone is a pitch class that is a member of, or common to (shared by) two or more scales or sets. | Deep scale property |
c_du4juizh5shu | In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term cross rhythm was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece. | Cross rhythm |
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