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c_cfjhpr1ry323 | In music, a cyclic set is a set, "whose alternate elements unfold complementary cycles of a single interval." Those cycles are ascending and descending, being related by inversion since complementary: In the above example, as explained, one interval (7) and its complement (-7 = +5), creates two series of pitches starti... | Cyclic set |
c_83l5rv45277q | 0 7 2 9 4 11 6 1 8 3 10 5 (0 + 0 5 10 3 8 1 6 11 4 9 2 7 (0 ________________________________________ = 0 0 0 0 0 0 0 0 0 0 0 0 (0 The two cycles may also be aligned as pairs of sum 7 or sum 5 dyads. All together these pairs of cycles form a set complex, "any cyclic set of the set complex may be uniquely identified by i... | Cyclic set |
c_se0xna97dz64 | In music, a ditone (Latin: ditonus, from Ancient Greek: δίτονος, "of two tones") is the interval of a major third. The size of a ditone varies according to the sizes of the two tones of which it is compounded. The largest is the Pythagorean ditone, with a ratio of 81:64, also called a comma-redundant major third; the s... | Ditone |
c_39wizckoei4h | In music, a double stop is the technique of playing two notes simultaneously on a stringed instrument such as a violin, a viola, a cello, or a double bass. On instruments such as the Hardanger fiddle it is common and often employed. In performing a double stop, two separate strings are bowed or plucked simultaneously. ... | Double stop |
c_445hmw4q8zd7 | A triple stop is the same technique applied to three strings; a quadruple stop applies to four strings. Double, triple, and quadruple stopping are collectively known as multiple stopping. Early extensive examples of the double stop and string chords appear in Carlo Farina's Capriccio Stravagante from 1627, and in certa... | Double stop |
c_lrt4lc6gckyx | In music, a double whole note (American), breve, or double note lasts two times as long as a whole note (or semibreve). It is the second-longest note value still in use in modern music notation. The longest notated note is the longa, which could be double or triple the length of a breve, although its use is most common... | Double whole note |
c_7oypc0dwks4w | In music, a drum cadence or street beat is a work played exclusively by the percussion section of a modern marching band (see marching percussion). It is stylistically descended from early military marches, and related to military cadences, as both are a means of providing a beat while marching. Usually, each instrumen... | Drum cadence |
c_gz0r04222heq | Cadences are also: 'a chant that is sung by military personnel while parading or marching'. "Cadences employ the four basic drum strokes and often directly include drum rudiments. They have a wide range of difficulty, from simple accent patterns to complex rhythms including hybrid rudiments, and are played by virtually... | Drum cadence |
c_7fag82agmca1 | In music, a drum stroke is a movement which produces a single or multiple notes on drums or other percussion instruments such as cymbals. There are several types of strokes: five basic single strokes (noted below), double strokes, and other multiple strokes such as triples, quadruples, or buzzes of indeterminate number... | Drum stroke |
c_hy1qorpkowsj | In music, a dyad (less commonly, diad) is a set of two notes or pitches that, in particular contexts, may imply a chord. Dyads can be classified by the interval between the notes. For example, the interval between C and E is a major third, which can imply a C major chord, made up of the notes C, E and G. When the pitch... | Dyad (music) |
c_tp2bdcfujz8w | In music, a factor or chord factor is a member or component of a chord. These are named root, third, fifth, sixth, seventh, ninth (compound 2nd), eleventh (compound 4th), thirteenth (compound 6th), and so on, for their generic interval above the root. In harmony, the consonance and dissonance of a chord factor and a no... | Factor (chord) |
c_rfxbcmice2ir | Thus, a chord with three unique pitch names always has three factors, even if some of those pitches are doubled or omitted in a particular voicing. For example, the figure to the right shows a four-note voicing of a C Major triad, which has three chord factors. The "root" chord factor (pitch name "C"), is represented t... | Factor (chord) |
c_ffdq4h0k7qha | The chord factor called the "fifth" (pitch name "G") is represented in voice 2 (shown in red). The chord factor that is in the bass determines the inversion of the chord. For example, if the third is in the bass it is a first inversion chord (figured bass: 63) while if the seventh is in the bass the chord is in third i... | Factor (chord) |
c_bp9579xtz7ha | The illustration shows one possible four-note voicing of a G7 third-inversion chord (written G7/F in lead-sheet chord-symbol notation), with every chord factor being represented once by a voice in the voicing. In Tertian harmony, chords are made more complex, or "extended", by introducing additional chord factors stack... | Factor (chord) |
c_yntdht0idzo3 | In music, a glissando (Italian: ; plural: glissandi, abbreviated gliss.) is a glide from one pitch to another (). It is an Italianized musical term derived from the French glisser, "to glide". In some contexts, it is equivalent to portamento, which is a continuous, seamless glide between notes. | Note bending |
c_f2kf0zn72g2k | In other contexts, it refers to discrete, stepped glides across notes, such as on a piano. Some terms that are similar or equivalent in some contexts are slide, sweep bend, smear, rip (for a loud, violent glissando to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure on a wi... | Note bending |
c_juj3hssmoiy3 | In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning. Most guitars used in popular music have six strings with the "standard" tuning of the Span... | Guitar chord |
c_wrzacqff42q4 | Standard tuning requires four chord-shapes for the major triads. There are separate chord-forms for chords having their root note on the third, fourth, fifth, and sixth strings. | Guitar chord |
c_de5b5m521256 | For a six-string guitar in standard tuning, it may be necessary to drop or omit one or more tones from the chord; this is typically the root or fifth. The layout of notes on the fretboard in standard tuning often forces guitarists to permute the tonal order of notes in a chord. The playing of conventional chords is sim... | Guitar chord |
c_l7uf9huebayk | For example, the typical twelve-bar blues uses only three chords, each of which can be played (in every open tuning) by fretting six strings with one finger. Open tunings are used especially for steel guitar and slide guitar. Open tunings allow one-finger chords to be played with greater consonance than do other tuning... | Guitar chord |
c_r1fz0nf0f5rh | The playing of (3 to 5 string) guitar chords is simplified by the class of alternative tunings called regular tunings, in which the musical intervals are the same for each pair of consecutive strings. Regular tunings include major-thirds tuning, all-fourths, and all-fifths tunings. For each regular tuning, chord patter... | Guitar chord |
c_62gjgpkzvqkh | On the other hand, in regular tunings 6-string chords (in the keys of C, G, and D) are more difficult to play. Conventionally, guitarists double notes in a chord to increase its volume, an important technique for players without amplification; doubling notes and changing the order of notes also changes the timbre of ch... | Guitar chord |
c_0uwpd5fh78gc | In music, a linear progression (Auskomponierungszug or Zug, abbreviated: Zg.) is a passing note elaboration involving stepwise melodic motion in one direction between two harmonic tones. "The compositional unfolding of a specific interval, one of the intervals of the chord of nature." For example: -- over the tonic. | Linear progression |
c_61t1lbwig6y3 | According to Schenker: "A linear progression always presupposes a passing note; there can be no linear progression without a passing note, no passing note without a linear progression." In German Zug may be combined with prefixes to create related words such as Untergreifzug, a linear progression rising from a lower vo... | Linear progression |
c_5kyws7a2w51w | "Linear progressions prolong harmonies through elaboration, or filling-in with dissonant notes, of a leap between two consonant notes from different voices in a chord. In English they may be abbreviated "prg." | Linear progression |
c_ufbbuq1y0rdf | such as 3-prg. for 'third progression' (rather than "Zg."). Note that in the Mozart example above the passing tones are dissonant and unable to be embellished; however, in the Urlinie example to the right the passing tone is supported harmonically, allowing for embellishment. Also note the Schenkerian notation indicati... | Linear progression |
c_o4vogqs5z92h | In music, a loop is a repeating section of sound material. Short sections can be repeated to create ostinato patterns. Longer sections can also be repeated: for example, a player might loop what they play on an entire verse of a song in order to then play along with it, accompanying themselves. | Drum loop |
c_orguaeexedxu | Loops can be created using a wide range of music technologies including turntables, digital samplers, looper pedals, synthesizers, sequencers, drum machines, tape machines, and delay units, and they can be programmed using computer music software. The feature to loop a section of an audio track or video footage is also... | Drum loop |
c_7hke8juim6j1 | In music, a major limma is an interval with the ratio of 135:128, which is the difference between two major tones (a ditone) and a minor third. It is equal to about 92.18 cents. Composer Ben Johnston uses a "−" with a "♭" as an accidental to indicate a note is lowered 92 cents, or a "+" with a "♯" to indicate a note is... | Major limma |
c_ls55cwear3jr | In music, a major seventh chord is a seventh chord in which the third is a major third above the root and the seventh is a major seventh above the root. The major seventh chord, sometimes also called a Delta chord, can be written as maj7, M7, Δ, ⑦, etc. The "7" does not have to be superscripted, but if it is, then any ... | Major seventh chord |
c_jjfsx4euvsqv | According to Forte, the major seventh chord is exemplified by IV7, which originates melodically. The just major seventh chord is tuned in the ratios 8:10:12:15, as a just major chord is tuned 4:5:6 and a just major seventh is tuned 15:8. The minor-minor sixth chord (minor triad with an added minor sixth) is an inversio... | Major seventh chord |
c_tjsedghs3tmc | In music, a melody of four pitches where a straight line drawn between the outer pair bisects a straight line drawn between the inner pair, thus forming a cross. In its simplest form, the cruciform melody is a changing tone, where the melody ascends or descends by step, skips below or above the first pitch, then return... | Cruciform plan |
c_v6p663f88wu3 | Johann Sebastian Bach, whose last name may be represented in tones through a musical cryptogram known as the BACH motif that is a cruciform melody, employed the device extensively. The subject of the fugue in c-sharp minor from The Well-Tempered Clavier Book I is cruciform. See also: Cross motif. | Cruciform plan |
c_zq3wwwbup26f | In music, a minor seventh chord is a seventh chord composed of a root note, together with a minor third, a perfect fifth, and a minor seventh (1, ♭3, 5, ♭7). For example, the minor seventh chord built on A, commonly written as A–7, has pitches A-C-E-G: | Minor seventh chord |
c_2jaoeqxchwr4 | In music, a monad is a single note or pitch. The Western chromatic scale, for example, is composed of twelve monads. Monads are contrasted to dyads, groups of two notes, triads, groups of three, and so on. == References == | Monad (music) |
c_qh4clt6n1abv | In music, a motif IPA: (/moʊˈtiːf/) (also motive) is a short musical idea, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition. The motif is the smallest structural unit possessing thematic identity. | Motif (music) |
c_guddlux6t9dd | In music, a ninth is a compound interval consisting of an octave plus a second. Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its sonority level is considered less dense. | Second chord |
c_148zc0xgivb6 | In music, a note is the representation of a musical sound. Notes can represent the pitch and duration of a sound in musical notation. A note can also represent a pitch class. Notes are the building blocks of much written music: discretizations of musical phenomena that facilitate performance, comprehension, and analysi... | Musical notes |
c_dcl5zd0owwo4 | In the former case, one uses note to refer to a specific musical event; in the latter, one uses the term to refer to a class of events sharing the same pitch. (See also: Key signature names and translations.) | Musical notes |
c_0p2zysug8l3r | Two notes with fundamental frequencies in a ratio equal to any integer power of two (e.g., half, twice, or four times) are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the same pitch class. In European music theory, most countries use the solfège naming conven... | Musical notes |
c_susvkxu3mhtl | However, in English- and some Dutch-speaking regions, pitch classes are typically represented by the first seven letters of the Latin alphabet (A, B, C, D, E, F and G). Several European countries, including Germany, use H instead of B (see below for details). Byzantium used the names Pa–Vu–Ga–Di–Ke–Zo–Ni (Πα–Βου–Γα–Δι–... | Musical notes |
c_ldlc0dyj8gl7 | The eighth note, or octave, is given the same name as the first, but has double its frequency (first harmonic). The name octave is also used to indicate the span between a note and another with double frequency. To differentiate two notes that have the same pitch class but fall into different octaves, the system of sci... | Musical notes |
c_w3mzb0fzwt4k | In music, a passing chord is a chord that connects, or passes between, the notes of two diatonic chords. "Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord. A diatonic passing chord may be inserted into a pre-existing progression that moves by a major or minor ... | Passing chord |
c_c8h0quae0os5 | "For example, in the simple chord progression in the key of C Major, which goes from I7/iii7/ii7/V7: |Cmaj7 |Em7 |Dm7 |G7 | the diatonic (this means "from the scale of the tonic") passing chord (Dm7) may be inserted: |Cmaj7 Dm7 |Em7 |Dm7 |G7 | or the chromatic passing chord (Ebm7) may be inserted: |Cmaj7 |Em7 Ebm7 |Dm7... | Passing chord |
c_5ry72hyi0lnp | With large ensembles, such as a big band, the comping players may have less freedom to improvise passing chords, because the composer/arranger may have already written in passing chords into the written horn parts, which might clash with improvised passing chords played by a comping musician. The freedom of comping mus... | Passing chord |
c_09zi88tbzcpl | In music, a pedal point (also pedal note, organ point, pedal tone, or pedal) is a sustained tone, typically in the bass, during which at least one foreign (i.e. dissonant) harmony is sounded in the other parts. A pedal point sometimes functions as a "non-chord tone", placing it in the categories alongside suspensions, ... | Pedal point |
c_zuxypd48d30l | Pedal points can also build drama or intensity and expectation. When a pedal point occurs in a voice other than the bass, it is usually referred to as an inverted pedal point (see inversion). Pedal points are usually on either the tonic or the dominant (fifth note of the scale) tones. | Pedal point |
c_v1sqkue6gvk6 | The pedal tone is considered a chord tone in the original harmony, then a nonchord tone during the intervening dissonant harmonies, and then a chord tone again when the harmony resolves. A dissonant pedal point may go against all harmonies present during its duration, being almost more like an added tone than a nonchor... | Pedal point |
c_3k7z0txooo15 | In music, a pensato (Italian: "thought") is a composed imaginary note, a written note which is neither played nor heard. "This meant that a note had to be so indescribably tender and soft that it was only allowed to be thought of." (Score 1958) Anton Webern is credited by some with the first use of pensatos, while othe... | Pensato |
c_irk6xrypoznv | George Perle (1990:), noting that "no composer has ever been more concrete, explicit, detailed, and subtle in his notation," argues that if Webern did use a pensato, it would have been a pitch "with all the attributes that give a note actuality: pitch, duration, mode of attack and release, timbre, intensity," and not a... | Pensato |
c_b66gt443rlqn | ", then "morendo...*", then the asterisk reads: "*)bis zum völligen Verlöschen, daher die letzte Terz Des—F eventuell noch ein-, zweimal wiederholen. Keinesfalls aber auf Des schließen!" | Pensato |
c_8if4v1s0zkfn | ("until completely extinguished, repeat the last third of Des — F once or twice. In no case, however, conclude to Des!") Presumably an expression of unrequited love (Santos 2014: 35). | Pensato |
c_6tih8iqr64sn | In music, a permutation (order) of a set is any ordering of the elements of that set. A specific arrangement of a set of discrete entities, or parameters, such as pitch, dynamics, or timbre. Different permutations may be related by transformation, through the application of zero or more operations, such as transpositio... | Permutation (music) |
c_yru552w4hkft | Order is particularly important in the theories of composition techniques originating in the 20th century such as the twelve-tone technique and serialism. Analytical techniques such as set theory take care to distinguish between ordered and unordered collections. In traditional theory concepts like voicing and form inc... | Permutation (music) |
c_tknp99udp86t | The permutations resulting from applying the inversion or retrograde operations are categorized as the prime form's inversions and retrogrades, respectively. Applying both inversion and retrograde to a prime form produces its retrograde-inversions, considered a distinct type of permutation. Permutation may be applied t... | Permutation (music) |
c_ik4d5prw3qlm | However, transformation operations of such smaller sets do not necessarily result in permutation the original set. Here is an example of non-permutation of trichords, using retrogradation, inversion, and retrograde-inversion, combined in each case with transposition, as found within in the tone row (or twelve-tone seri... | Permutation (music) |
c_206gbc8lah2j | The rest of the numbers are counted half-step-wise such that: B = 0, C = 1, C♯/D♭ = 2, D = 3, D♯/E♭ = 4, E = 5, F = 6, F♯/G♭ = 7, G = 8, G♯/A♭ = 9, A = 10, and A♯/B♭ = 11. Prime zero is retrieved entirely by choice of the composer. To receive the retrograde of any given prime, the numbers are simply rewritten backwards... | Permutation (music) |
c_2g29k9mknupw | To receive the inversion of any prime, each number value is subtracted from 12 and the resulting number placed in the corresponding matrix cell (see twelve-tone technique). The retrograde inversion is the values of the inversion numbers read backwards. Therefore: A given prime zero (derived from the notes of Anton Webe... | Permutation (music) |
c_kxhst655kgsh | In that regard, a musical permutation is a combinatorial permutation from mathematics as it applies to music. Permutations are in no way limited to the twelve-tone serial and atonal musics, but are just as well utilized in tonal melodies especially during the 20th and 21st centuries, notably in Rachmaninoff's Variation... | Permutation (music) |
c_yovsdbtacrp5 | In music, a pitch class (p.c. or pc) is a set of all pitches that are a whole number of octaves apart; for example, the pitch class C consists of the Cs in all octaves. "The pitch class C stands for all possible Cs, in whatever octave position." Important to musical set theory, a pitch class is "all pitches related to ... | Pitch class |
c_6hefq5y5bdm6 | Thus, using scientific pitch notation, the pitch class "C" is the set {Cn: n is an integer} = {..., C−2, C−1, C0, C1, C2, C3 ...}.Although there is no formal upper or lower limit to this sequence, only a few of these pitches are audible to humans. Pitch class is important because human pitch-perception is periodic: pit... | Pitch class |
c_u9v9pxks6dcf | A chroma is an attribute of pitches (as opposed to tone height), just like hue is an attribute of color. A pitch class is a set of all pitches that share the same chroma, just like "the set of all white things" is the collection of all white objects.In standard Western equal temperament, distinct spellings can refer to... | Pitch class |
c_q77nhnmu3hj6 | In music, a popular retelling of the biblical Lazarus story from the point of view of Lazarus in heaven is the 1984 gospel story-song "Lazarus Come Forth" by Contemporary Christian Music artist Carman. A modern reinterpretation of the story is the title track to the album Dig, Lazarus, Dig!!! by the Australian alternat... | Lazarus' cross |
c_bl44wxt0n1yv | In music, a primary triad is one of the three triads, or three-note chords built from major or minor thirds, most important in tonal and diatonic music, as opposed to an auxiliary triad or secondary triad. Each triad found in a diatonic key corresponds to a particular diatonic function. Functional harmony tends to rely... | Primary triad |
c_ak7xw913dqfi | Primary triads, "express function clearly and unambiguously." The other triads of the diatonic key include the supertonic, mediant, sub-mediant, and leading-tone, whose roots begin on the second, third, sixth, and seventh degrees (respectively) of the diatonic scale, otherwise symbolized: ii, iii, vi, and viio (again, ... | Primary triad |
c_hijz6q7k6smi | In C major these are: I C V G IV F vi Am iii Em ii Dm viio BdimIn a minor key triads i and iv are minor chords, but in chord V the leading note is generally raised to form a major chord. For example, in A minor the primary triads are Am, Dm and E. Chord v (minor) in a minor key might be expected to be a primary triad, ... | Primary triad |
c_vfq54yqlq220 | For example, the supertonic, ii, is the subdominant parallel, relative of IV (in C: a d minor chord is the subdominant parallel, the subdominant is an F major chord). Being a parallel chord in a major key it is derived through raising the fifth a major second (C of F–A–C rises to D → F–A–D, an inversion of D–F–A). Alte... | Primary triad |
c_xfs598atqq1f | In music, a projected set is a technique where a collection of pitches or pitch classes is extended in a texture through the emphasized simultaneous statement of a set followed or preceded by a successive emphasized statement of each of its members. For example, a set may be stated as a simultaneity and then a series o... | Projected set |
c_c3wgpnyvsbir | (Wilson 1992, p. 23) Pattern completion is "the use of a projected set to organize a work over a long span of time" (ibid, p. 210n5). | Projected set |
c_gfv2aq4v2kfo | In music, a reduction is an arrangement or transcription of an existing score or composition in which complexity is lessened to make analysis, performance, or practice easier or clearer; the number of parts may be reduced or rhythm may be simplified, such as through the use of block chords. | Piano Reduction |
c_tgs7f9htbgqs | In music, a refrain has two parts: the lyrics of the song, and the melody. Sometimes refrains vary their words slightly when repeated; recognizability is given to the refrain by the fact that it is always sung to the same tune, and the rhymes, if present, are preserved despite the variations of the words. Such a refrai... | Refrain |
c_bv8dk4kofyud | Some songs, especially ballads, incorporate refrains (or burdens) into each verse. For example, one version of the traditional ballad "The Cruel Sister" includes a refrain mid-verse: There lived a lady by the North Sea shore, Lay the bent to the bonny broom Two daughters were the babes she bore. Fa la la la la la la la... | Refrain |
c_kdexhpirip7c | Fa la la la la la la la.. . . (Note: the refrain of 'Lay the Bent to the Bonny Broom' is not traditionally associated with the ballad of "The Cruel Sister" (Child #10). | Refrain |
c_9lywmkhy4cd4 | This was the work of 'pop-folk' group Pentangle on their 1970 LP Cruel Sister which has subsequently been picked up by many folk singers as being traditional. Both the melody and the refrain come from the ballad known as "Riddles Wisely Expounded" (Child #1).) Here, the refrain is syntactically independent of the narra... | Refrain |
c_ingq0duobb2w | The device can also convey material which relates to the subject of the poem. Such a refrain is found in Dante Gabriel Rossetti's "Troy Town": Heavenborn Helen, Sparta's queen, O Troy Town! Had two breasts of heavenly sheen, The sun and moon of the heart's desire: All Love's lordship lay between, A sheen on the breasts... | Refrain |
c_ubk5be7l4njx | O Troy's down, Tall Troy's on fire!. . | Refrain |
c_wqqp973donol | .Phrases of apparent nonsense in refrains (Lay the bent to the bonny broom? ), and syllables such as fa la la, familiar from the Christmas carol "Deck the Halls with Boughs of Holly", have given rise to much speculation. Some believe that the traditional refrain Hob a derry down O encountered in some English folksongs ... | Refrain |
c_bko4xjw15heh | In music, a repeat sign is a sign that indicates a section should be repeated. If the piece has one repeat sign alone, then that means to repeat from the beginning, and then continue on (or stop, if the sign appears at the end of the piece). A corresponding sign facing the other way indicates where the repeat is to beg... | Repeat sign |
c_f6kljmcdxpoi | Repeat. Wiederholungszeichen (Ger.) A sign that a movement or part of a movement is to be twice performed. That which is to be repeated is generally included within the sign of two or four dots in the spaces...When the performer does not, on repeating, go so far as the last dot-sign, but finishes at a previous cadence,... | Repeat sign |
c_qz21gw1ja9sv | In music, a reprise ( rə-PREEZ, French: ; from the verb reprendre 'to resume') is the repetition or reiteration of the opening material later in a composition as occurs in the recapitulation of sonata form, though—originally in the 18th century—was simply any repeated section, such as is indicated by beginning and end... | Reprise |
c_tpj0tlt1nwrs | In music, a rewrite rule is a recursive generative grammar, which creates a chord progression from another. Steedman (1984) has proposed a set of recursive "rewrite rules" which generate all well-formed transformations of jazz, basic I–IV–I–V–I twelve-bar blues chord sequences, and, slightly modified, non-twelve-bar bl... | Chord rewrite rules |
c_jm0oafjkr2tf | Middleton (1990) suggests that both modal and fourth-oriented structures, rather than being, "distortions or surface transformations of Schenker's favoured V-I kernel, are more likely branches of a deeper principle, that of tonic/not-tonic differentiation." For the ♭ notation, see Borrowed chord. == References == | Chord rewrite rules |
c_gagtl8x96hrn | In music, a secor is the interval of 116.7 cents ((18/5)(1/19)) named after George Secor. Secor devised it to allow a close approximation, generated from a single interval, to Harry Partch's 43 tone just intonation scale. All 11-limit consonances are approximated to within 3.32 cents.It is approximated in 31 , 41 , and... | Miracle temperament |
c_x070dhakhoqb | For tuning purposes, a secor of seven steps of 72 equal temperament is often used. Two secors (233.4 cents ) approximate an 8:7 interval (231.17 cents), a septimal whole tone. Three of these 8:7 intervals (693.51 cents), or six secors (700.2 cents ), approximate a fifth (701.96 cents). A neutral third of 11:9 (347.41 c... | Miracle temperament |
c_6lsp6z2bzqzx | In music, a septimal chromatic semitone or minor semitone is the interval 21:20 (). It is about 84.47 cents. The septimal chromatic semitone may be derived from the harmonic series as the interval between the twentieth and twenty-first harmonics. | Septimal chromatic semitone |
c_nk2j4qw5zv4i | The septimal chromatic semitone equals a just chromatic semitone (25:24) plus a septimal semicomma (126:125). When added to the 15:14 semitone, the 21:20 semitone and 28:27 semitone produce the 9:8 tone (major tone) and 10:9 tone (minor tone), respectively. == References == | Septimal chromatic semitone |
c_qpzqjnreh1az | In music, a septimal diatonic semitone (or major diatonic semitone) is the interval 15:14 . It is about 119.44 cents. The septimal diatonic semitone may be derived from the harmonic series as the interval between the fourteenth and fifteenth harmonics (B7b and B). The septimal diatonic semitone equals a just diatonic s... | Septimal diatonic semitone |
c_v1gq17m8e6sz | In music, a similarity relation or pitch-class similarity is a comparison between sets of the same cardinality (two sets containing the same number of pitch classes), based upon shared pitch class and/or interval class content. Allen Forte originally designated four types: Rp (maximal similarity with respect to pitch c... | Similarity relation (music) |
c_8m6t4hfkzbnr | Rp is defined for sets S1 and S2 of cardinal number n and S3 of cardinal number n-1 as: Rp(S1,S2) iff (S3 ⊂ S1, S3 ⊂ S2)Meaning that S1 and S2 each have all the pitch-classes of S3 (transposed or inverted), plus one. he pc similarity relation Rp is not especially significant when taken alone, since by that measure a gi... | Similarity relation (music) |
c_qsqy0pebdoww | In music, a simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. This first appeared in the music of Charles Ives, and is common in the music of Conlon Nancarrow and others. | Simultaneity succession |
c_n7lnwb2rac3w | In music, a single is a type of release, typically a song recording of fewer tracks than an LP record or an album. One can be released for sale to the public in a variety of formats. In most cases, a single is a song that is released separately from an album, although it usually also appears on an album. In other cases... | 45 rpm record |
c_1twv7jkjw380 | With the rise of digital distribution, distinctions have become more tenuous. The biggest digital music distributor, the iTunes Store, only accepts releases with three tracks or fewer that are less than ten minutes each as a singles (with longer releases being classified as EPs or albums). However, releases which don't... | 45 rpm record |
c_w90vl154oyy0 | In music, a stab is a single staccato note or chord that adds dramatic punctuation to a composition. Stabs are usually provided by horns (real or synthesized), thus the term horn stab, or an orchestral sample and usually occur on a 1-beat. Stabs are used in a wide variety of music genres including jazz, rock, classical... | Horn stab |
c_ettdt958evs1 | There is no standardized notation symbol to specifically indicate a stab. They are most commonly notated as a short note value with a staccato dot, sometimes with the verbal marking "stab". There's a rule of thumb in funk music that says short sounds are better than long: thus the drier the guitar hit, the tighter the ... | Horn stab |
c_prviy9ehsqb4 | It's the bits of silence in-between these short events that builds anticipation for the next one - the tension/release principle in rhythmic form. Stabs are also used in electronic music in the form of very short snippets of a song used as rhythmic accents in a new composition. Early breakbeat hardcore, such as Prodigy... | Horn stab |
c_cwamlyrs52aw | In music, a step, or conjunct motion, is the difference in pitch between two consecutive notes of a musical scale. In other words, it is the interval between two consecutive scale degrees. Any larger interval is called a skip (also called a leap), or disjunct motion.In the diatonic scale, a step is either a minor secon... | Steps and skips |
c_k1x90e1yoezm | For example, C to D (major second) is a step, whereas C to E (major third) is a skip. More generally, a step is a smaller or narrower interval in a musical line, and a skip is a wider or larger interval with the categorization of intervals into steps and skips is determined by the tuning system and the pitch space used... | Steps and skips |
c_ilh8267511rw | In music, a string is the vibrating element that produces sound in string instruments such as the guitar, harp, piano (piano wire), and members of the violin family. Strings are lengths of a flexible material that a musical instrument holds under tension so that they can vibrate freely, but controllably. Strings may be... | String (structure) |
c_mpv17pcs9sih | This is to make the string vibrate at the desired pitch, while maintaining a low profile and sufficient flexibility for playability. The invention of wound strings, such as nylon covered in wound metal, was a crucial step in string instrument technology, because a metal-wound string can produce a lower pitch than a cat... | String (structure) |
c_6rfri8q3vv12 | In music, a subminor interval is an interval that is noticeably wider than a diminished interval but noticeably narrower than a minor interval. It is found in between a minor and diminished interval, thus making it below, or subminor to, the minor interval. A supermajor interval is a musical interval that is noticeably... | Supermajor interval |
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