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c_ixu98yo27gn8 | It is found in between a major and augmented interval, thus making it above, or supermajor to, the major interval. The inversion of a supermajor interval is a subminor interval, and there are four major and four minor intervals, allowing for eight supermajor and subminor intervals, each with variants. Traditionally, "s... | Supermajor interval |
c_o9309b3kkdag | In music, a symmetric scale is a music scale which equally divides the octave. The concept and term appears to have been introduced by Joseph Schillinger and further developed by Nicolas Slonimsky as part of his famous Thesaurus of Scales and Melodic Patterns. In twelve-tone equal temperament, the octave can only be eq... | Symmetric scale |
c_au73idz0jc6o | This may be seen quite readily with the whole tone scale on C: {C, D, E, F♯, G♯, A♯, C} If transposed up a whole tone to D, contains exactly the same notes in a different permutation: {D, E, F♯, G♯, A♯, C, D}In the case of inversionally symmetrical scales, the inversion of the scale is identical. Thus the intervals bet... | Symmetric scale |
c_mmka9s0coz5u | In music, a synthetic scale is a scale that derives from a traditional diatonic major scale by altering of one degree by a semitone in either direction. Composer Ferruccio Busoni originally explored these scales in his A New Esthetic of Music and their number and variety were later clarified by J. Murray Barbour, who a... | Synthetic scale |
c_b4yr3f3rj91m | "Alexander Scriabin's mystic chord, when considered as a scale (the Prometheus scale), is an example of a synthetic chord—in that it is a whole tone scale with one degree altered. However, it was not the generating element to Scriabin's music, nor does his derivation of it from the whole tone scale necessarily indicate... | Synthetic scale |
c_xz7o3403k5fr | In music, a tape phase is a recorded composition using a tape loop or its electronic simulation to produce and vary sounds. It is a form of tape music.Tape phase compositions generally make little use of tonality owing to the difficulty of producing and maintaining a coherent pitch. They may have a strong pulse and rhy... | Tape phase |
c_gsp7kn79p17g | In music, a tone row or note row (German: Reihe or Tonreihe), also series or set, is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found. | Retrograde equivalency |
c_oe04xjmjk6tn | In music, a vamp is a repeating musical figure, section, or accompaniment used in blues, jazz, gospel, soul, and musical theater. Vamps are also found in rock, funk, reggae, R&B, pop, and country. Vamps are usually harmonically sparse: A vamp may consist of a single chord or a sequence of chords played in a repeated rh... | Ground bass |
c_v2mhbr0mxoa0 | Vamps are generally symmetrical, self-contained, and open to variation. The equivalent in classical music is an ostinato, in hip hop and electronic music the loop, and in rock music the riff.The slang term vamp comes from the Middle English word vampe (sock), from Old French avanpie, equivalent to Modern French avant-p... | Ground bass |
c_onfq85jqi5az | Many well known artists primarily build songs with a vamp/riff/ostinato based approach—including John Lee Hooker ("Boogie Chillen", "House Rent Boogie"), Bo Diddley ("Hey Bo Diddley", "Who Do You Love? "), Jimmy Page ("Ramble On", "Bron Yr Aur"), Nine Inch Nails ("Closer"), and Beck ("Loser"). Classic examples of vamps... | Ground bass |
c_oao49tu9p6r5 | In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or hexatonic scales. A single whole-tone scale can also be thought of as a "six-tone equal tempe... | Whole tone scale |
c_xf769pvpozd1 | This effect is especially emphasised by the fact that triads built on such scale tones are all augmented triads. Indeed, all six tones of a whole-tone scale can be played simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole-tone scales do not give a strong impression ... | Whole tone scale |
c_oppm5hz66rku | Only two triads are possible, both of them augmented, and...all inversions sound alike. All 'progressions' tend to have the same tonal character. | Whole tone scale |
c_4oe9q3k32b0p | What one hears are tone centers rather than tonics, and only when they are stressed , as by repetition or duration. It cannot be denied that the small number of possible different intervals and nonequivalent chords available in the whole-tone scale results in a soft-edged, neutral kind of sound lacking in tonal contra... | Whole tone scale |
c_evp6pqesi1p8 | The composer and music theorist George Perle calls the whole-tone scale interval cycle 2, or C2. Since there are only two possible whole-tone-scale positions (that is, the whole-tone scale can be transposed only once), it is either C20 or C21. For this reason, the whole-tone scale is also maximally even and may be cons... | Whole tone scale |
c_v0lnsh6dseex | Due to this symmetry, the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords, whose "individual structural differences can be seen to result only from a difference in the 'location', or plac... | Whole tone scale |
c_pue99pwlkq7u | In music, alternate bass is a performance technique on many instruments where the bass alternates between two notes, most often the root and the fifth of a triad or chord. The perfect fifth is often, but not always, played below the root, transposed down an octave creating a fourth interval. The alternation between the... | Alternate bass |
c_j35bf563dpwp | On the guitar and bass guitar this is accomplished with the right hand alternating between two or more strings, often the bottom two on the guitar. In the following example in the C major chord C is located on the fifth string while G is located on the adjacent sixth (lowest) string and in the F major chord F is locate... | Alternate bass |
c_gqsfejgv1c0f | In music, an accent is an emphasis, stress, or stronger attack placed on a particular note or set of notes, or chord, either as a result of its context or specifically indicated by an accent mark. Accents contribute to the articulation and prosody of a performance of a musical phrase. Accents may be written into a scor... | Accent (music) |
c_qvw7mriusvy2 | A tonic accent is an emphasis on notes by virtue of them being higher in pitch, as opposed to higher in volume. An agogic accent is an emphasis by virtue of notes being longer in duration.Accents that don't correspond to the stressed beats of the prevailing meter are said to be syncopated. For example, in common time, ... | Accent (music) |
c_wwigxn0rojcg | If accented chords or notes are played on beats two or four, that creates syncopation, since the music is emphasizing the "weak" beats of the bar. Syncopation is used in classical music, popular music, and traditional music. However, it is more prominent in blues, jazz, funk, disco, and Latin music. | Accent (music) |
c_dh9pygxl8wsl | In music, an all-interval twelve-tone row, series, or chord, is a twelve-tone tone row arranged so that it contains one instance of each interval within the octave, 1 through 11 (an ordering of every interval, 0 through 11, that contains each (ordered) pitch-interval class, 0 through 11). A "twelve-note spatial set mad... | All-interval twelve-tone row |
c_4zukynnafuew | These sets may be ordered in time or in register. "Distinct" in this context means in transpositionally and rotationally normal form (yielding 3856 such series), and disregarding inversionally related forms. These 1,928 tone rows have been independently rediscovered several times, their first computation probably was b... | All-interval twelve-tone row |
c_xvpjhhpchd2r | In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s progression: |G / Em / |Am / D7 / || may be filled in with approach chor... | Approach chord |
c_7yqy80yguhib | In music, an arrangement is a musical adaptation of an existing composition. Differences from the original composition may include reharmonization, melodic paraphrasing, orchestration, or formal development. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instrum... | Musical arranger |
c_cu3z5hufjexq | Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, and endings. Arranging is the art of giving an existing melody musical variety". In jazz, a memorized (unwritten) arrangement of a new or pre-existing composition is known as a head arrange... | Musical arranger |
c_kz0lhft9wrsg | In music, an augmented major seventh chord or major seventh sharp five chord is a seventh chord composed of a root, major third, augmented fifth, and major seventh (1, 3, ♯5, 7). It can be viewed as an augmented triad with an additional major seventh. When using popular-music symbols, it is denoted by augM7, +M7, +Δ7, ... | Augmented major seventh chord |
c_pu0utz5eez8z | This chord also comes from the third mode of both the harmonic minor and the melodic minor scales. For example, the third mode of the A melodic minor scale outlines an augmented major seventh chord, as shown below. As with dominant seventh chords, nondominant seventh chords including the augmented major seventh usually... | Augmented major seventh chord |
c_e7h5h2zlscx2 | In music, an augmented sixth () is an interval produced by widening a major sixth by a chromatic semitone. For instance, the interval from C to A is a major sixth, nine semitones wide, and both the intervals from C♭ to A, and from C to A♯ are augmented sixths, spanning ten semitones. Being augmented, it is considered a... | Augmented sixth |
c_j0ktry3fzbmv | In the tuning system known as equal temperament the augmented sixth is equal to ten semitones and is a dissonant interval. The augmented sixth is relatively rare. Its most common occurrence is built on the lowered submediant of the prevailing key, in which position the interval assumes a natural tendency to resolve by ... | Augmented sixth |
c_aw1bnc1v2tum | In its most common and expected resolution, the lower note of the interval moves downwards by a minor second to the dominant while the upper note, being chromatically inflected, is heard as the leading note of the dominant key, rising naturally by a minor second. It is the strong tendency to resolve in this way that pr... | Augmented sixth |
c_hx3fg8ygjw18 | Regardless of the true diatonic context, many writers are instead in favor of the more familiar minor seventh – especially in chord notation, in which chords containing it are always labeled seventh chords. The augmented sixth interval in combination with certain other intervals forms the group of chords known collecti... | Augmented sixth |
c_en7s0sbn3xkx | In music, an eight-bar blues is a common blues chord progression. Music writers have described it as "the second most common blues form" being "common to folk, rock, and jazz forms of the blues". It is often notated in 44 or 128 time with eight bars to the verse. | Eight-bar blues |
c_6vvlt94d3ery | In music, an electronic tuner is a device that detects and displays the pitch of musical notes played on a musical instrument. "Pitch" is the perceived fundamental frequency of a musical note, which is typically measured in Hertz. Simple tuners indicate—typically with an analog needle or dial, LEDs, or an LCD screen—wh... | Electric tuner |
c_mhzxndg29nqs | Since the early 2010s, software applications can turn a smartphone, tablet, or personal computer into a tuner. More complex and expensive tuners indicate pitch more precisely. Tuners vary in size from units that fit in a pocket to 19" rack-mount units. | Electric tuner |
c_ly0g0ajbb79p | Instrument technicians and piano tuners typically use more expensive, accurate tuners.The simplest tuners detect and display tuning only for a single pitch—often "A" or "E"—or for a small number of pitches, such as the six used in the standard tuning of a guitar (E,A,D,G,B,E). More complex tuners offer chromatic tuning... | Electric tuner |
c_4wp8ndsmlj1e | Among the most accurate tuning devices, strobe tuners work differently than regular electronic tuners. They are stroboscopes that flicker a light at the same frequency as the note. The light shines on a wheel that spins at a precise speed. | Electric tuner |
c_9qyh91ugxjn1 | The interaction of the light and regularly-spaced marks on the wheel creates a stroboscopic effect that makes the marks for a particular pitch appear to stand still when the pitch is in tune. These can tune instruments and audio devices more accurately than most non-strobe tuners. However, mechanical strobe units are e... | Electric tuner |
c_vuo0b7i81tht | In music, an interval cycle is a collection of pitch classes created from a sequence of the same interval class. In other words, a collection of pitches by starting with a certain note and going up by a certain interval until the original note is reached (e.g. starting from C, going up by 3 semitones repeatedly until e... | Interval cycle |
c_frrr1d1bd9vo | See: wikt:cycle. Interval cycles are notated by George Perle using the letter "C" (for cycle), with an interval class integer to distinguish the interval. Thus the diminished seventh chord would be C3 and the augmented triad would be C4. | Interval cycle |
c_m94ngq8x4d9y | A superscript may be added to distinguish between transpositions, using 0–11 to indicate the lowest pitch class in the cycle. "These interval cycles play a fundamental role in the harmonic organization of post-diatonic music and can easily be identified by naming the cycle. "Here are interval cycles C1, C2, C3, C4 and ... | Interval cycle |
c_909o8o00dd77 | For example, if the C4 interval cycle used justly-tuned major thirds it would fall flat of an octave return by an interval known as the diesis. Put another way, a major third above G♯ is B♯, which is only enharmonically the same as C in systems such as equal temperament, in which the diesis has been tempered out. Inter... | Interval cycle |
c_ipxtg1ftcbmb | However, a seven-pitch segment of C7 will produce the diatonic major scale: This is known also known as a generated collection. A minimum of three pitches are needed to represent an interval cycle.Cyclic tonal progressions in the works of Romantic composers such as Gustav Mahler and Richard Wagner form a link with the ... | Interval cycle |
c_29bh5uldny2u | "Similarly," to any pair of transpositionally related sets being reducible to two transpositionally related representations of the chromatic scale, "the pitch-class relations between any pair of inversionally related sets is reducible to the pitch-class relations between two inversionally related representations of the... | Interval cycle |
c_rxi5iw5gn0p5 | In music, an interval ratio is a ratio of the frequencies of the pitches in a musical interval. For example, a just perfect fifth (for example C to G) is 3:2 (), 1.5, and may be approximated by an equal tempered perfect fifth () which is 27/12 (about 1.498). If the A above middle C is 440 Hz, the perfect fifth above it... | Frequency ratio |
c_y4kp9wo8ae12 | Ratios have an inverse relationship to string length, for example stopping a string at two-thirds (2:3) its length produces a pitch one and one-half (3:2) that of the open string (not to be confused with inversion). Intervals may be ranked by relative consonance and dissonance. As such ratios with lower integers are ge... | Frequency ratio |
c_iubds7pmxavc | For example, 2:1 (), 4:3 (), 9:8 (), 65536:59049 (), etc. Consonance and dissonance may more subtly be defined by limit, wherein the ratios whose limit, which includes its integer multiples, is lower are generally more consonant. For example, the 3-limit 128:81 () and the 7-limit 14:9 (). Despite having larger integers... | Frequency ratio |
c_w9qc1g037e47 | In music, an irregular resolution is resolution by a dominant seventh chord or diminished seventh chord to a chord other than the tonic. Regarding the dominant seventh, there are many irregular resolutions including to a chord with which it has tones in common or if the parts move only a whole or half step. Consecutive... | Irregular resolution |
c_kdwjoujg1jk5 | C, E, G, B♭ would resolve to C♯, E, G, A; two tones are common, two voices move by half-step in contrary motion. Type II, in which the root motion rises by minor third. C, E, G, B♭ would resolve to D♭, E♭, G, B♭; again, two tones are common, two voices move by half-step in contrary motion. | Irregular resolution |
c_lmpba6cu31nh | Type III, in which the root moves a tritone (two minor thirds) away. C, E, G, B♭ would resolve to C♯, E, F♯, B♭ = A♯; again, two tones are common (with enharmonic change), two voices move by half-step in contrary motion.Type I is common from the 18th century; Type II may be found from the second quarter of the 19th cen... | Irregular resolution |
c_2d2az8xpjlst | In music, an octave (Latin: octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music", the use of which is "common in most m... | Perfect octave |
c_sia3csqurpll | To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated 8a or 8va (Italian: all'ottava), 8va bassa (Italian: all'... | Perfect octave |
c_bbs76bticuwd | In music, an ostinato (Italian: ; derived from Italian word for stubborn, compare English obstinate) is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's Boléro and the Carol of the Bells, ... | Ground bass |
c_mzj0eru026ci | If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident. Within the context of film music, Claudia Gorbman defines an ostinato as a repeated melodic or rhythmic figure that propels scenes that lack dynamic visual action.... | Ground bass |
c_4vlknexd4tgv | In music, arch form is a sectional structure for a piece of music based on repetition, in reverse order, of all or most musical sections such that the overall form is symmetric, most often around a central movement. The sections need not be repeated verbatim but must at least share thematic material. It creates interes... | Arch form |
c_5xuf2o3hq23e | Though the form appears to be static and to deny progress, the pairs of movements create an "undirectional process" with the center, and the form "actually engenders specific expressive possibilities that would otherwise be unavailable for the work as a whole".Béla Bartók is noted for his use of arch form, e.g., in his... | Arch form |
c_imjcbtn17zv1 | In music, audio post-production includes processes such as mixing and mastering. The audio engineering community more commonly refers to these processes as music production. | Audio post production |
c_z42svdaekyk9 | In music, augmented chords are symbolized with a plus sign, although this practice is not universal (as there are other methods for spelling those chords). For example, "C+" is read "C augmented chord". Sometimes the plus is written as a superscript. | Minus sign |
c_2r7zjz8vskhp | In music, birdsong has influenced composers and musicians in several ways: they can be inspired by birdsong; they can intentionally imitate bird song in a composition, as Vivaldi and Beethoven did, along with many later composers, such as Messiaen; they can incorporate recordings of birds into their works, as Ottorino ... | Bird vocalization |
c_v987mrv62ocv | In music, birdsong has influenced composers and musicians in several ways: they can be inspired by birdsong; they can intentionally imitate bird song in a composition, as Vivaldi and Beethoven did, along with many later composers; they can incorporate recordings of birds into their works, first seen in the work of Otto... | Human uses of birds |
c_zr1qjq9hk2r6 | In music, birdsong has influenced composers and musicians in several ways: they can be inspired by birdsong; they can intentionally imitate bird song in a composition, as Vivaldi, Messiaen, and Beethoven did, along with many later composers; they can incorporate recordings of birds into their works, as Ottorino Respigh... | Birb |
c_cbwale20b72e | In music, call and response is a succession of two distinct phrases usually written in different parts of the music, where the second phrase is heard as a direct commentary on or in response to the first. This can take form as commentary to a statement, an answer to a question or repetition of a phrase following or sli... | Call and response (music) |
c_34lb0h24dt53 | In music, changing tones (also called double neighboring tones and neighbor group) consists of two consecutive non-chord tones. The first moves in one direction by a step from a chord tone, then skips by a third in the opposite direction to another non-chord tone, and then finally resolves back to the original chord to... | Changing tones |
c_switbn5l76ed | The changing tone functions as a way to decorate, or embellish, a chord tone and are also used to provide rhythmic interest between common tones. In rare instances, changing tones can be heard as musical cryptograms, such as the cruciform melody. == References == | Changing tones |
c_5p183kw76wa3 | In music, chromatic mediants are "altered mediant and submediant chords." A chromatic mediant relationship defined conservatively is a relationship between two sections and/or chords whose roots are related by a major third or minor third, and contain one common tone (thereby sharing the same quality, i.e. major or min... | Chromatic mediant |
c_hjp6al5t3tpr | The mediants of the parallel minor of C major (C minor) are E♭ major and A♭ major. Thus, by this conservative definition, C major has four chromatic mediants: E major, A major, E♭ major, and A♭ major. There is not complete agreement on the definition of chromatic mediant relationships. | Chromatic mediant |
c_857dxmljsw81 | Theorists such as Allen Forte define chromatic mediants conservatively, only allowing chromatic mediant chords of the same quality (major or minor) as described above. However, he describes an even more distant "doubly-chromatic mediant" relationship shared by two chords of the opposite mode, with roots a third apart a... | Chromatic mediant |
c_k1cj68daupc6 | Thus, by this more permissive definition, C major has six chromatic mediants: E major, A major, E♭ major, A♭ major, E♭ minor and A♭ minor. When a conservative chromatic mediant relationship involves seventh chords, "...the triad portions of the chords are both major or both minor." This pertains to the more permissive ... | Chromatic mediant |
c_7cy1yxag3v2p | Chromatic mediants are usually in root position, may appear in either major or minor keys, usually provide color and interest while prolonging the tonic harmony, proceed from and to the tonic or less often the dominant, sometimes are preceded or followed by their own secondary dominants, or sometimes create a complete ... | Chromatic mediant |
c_hac3t5w1fppd | In music, consecutive fifths or parallel fifths are progressions in which the interval of a perfect fifth is followed by a different perfect fifth between the same two musical parts (or voices): for example, from C to D in one part along with G to A in a higher part. Octave displacement is irrelevant to this aspect of ... | Consecutive fifths |
c_6olqlodp0acq | In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that... | Perfect consonance |
c_vavyd83i78ka | In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common pra... | Species counterpoint |
c_astqkfu70jmy | There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies ... | Species counterpoint |
c_9fhszlru3nj5 | In music, counting is a system of regularly occurring sounds that serve to assist with the performance or audition of music by allowing the easy identification of the beat. Commonly, this involves verbally counting the beats in each measure as they occur, whether there be 2 beats, 3 beats, 4 beats, or even 5 beats. In ... | Counting (music) |
c_e9io95nuspio | In music, development is a process by which a musical idea is communicated in the course of a composition. It refers to the transformation and restatement of initial material. Development is often contrasted with musical variation, which is a slightly different means to the same end. Development is carried out upon por... | Musical development |
c_0rf62kqqkq6v | Listeners may apprehend a "tension between expected and real results" (see irony), which is one "element of surprise" in music. This practice has its roots in counterpoint, where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its contrapuntal capabilities ... | Musical development |
c_cnt4pfb81rhf | Typically, in this section, material from the exposition section is developed. In some older texts, this section may be referred to as free fantasia.According to the Oxford Companion to Music there are several ways of developing a theme. These include: The division of a theme into parts, each of which can be developed ... | Musical development |
c_k1ck59vpcgb3 | Similarly, two or more themes can be developed in combination; in some cases, themes are composed with this possibility in mind. Alteration of pitch intervals while retaining the original rhythm. | Musical development |
c_bksfcjdmab5o | Rhythmic displacement, so that the metrical stress occurs at a different point in the otherwise unchanged theme. Sequence, either diatonically within a key or through a succession of keys. The Scherzo movement from Beethoven's Piano Sonata No. 15 in D major, Op 28 (the "Pastoral" Sonata) shows a number of these process... | Musical development |
c_unzl6717vq3c | In music, duration is an amount of time or how long or short a note, phrase, section, or composition lasts. "Duration is the length of time a pitch, or tone, is sounded." A note may last less than a second, while a symphony may last more than an hour. One of the fundamental features of rhythm, or encompassing rhythm, d... | Duration (music) |
c_53h4nmt6q7jx | Release plays an important part in determining the timbre of a musical instrument and is affected by articulation. The concept of duration can be further broken down into those of beat and meter, where beat is seen as (usually, but certainly not always) a 'constant', and rhythm being longer, shorter or the same length ... | Duration (music) |
c_dg995lol20zi | In serial music the beginning of a note may be considered, or its duration may be (for example, is a 6 the note which begins at the sixth beat, or which lasts six beats?). Durations, and their beginnings and endings, may be described as long, short, or taking a specific amount of time. Often duration is described accor... | Duration (music) |
c_josdsl5byo9u | As such, the duration complement is the amount of different durations used, the duration scale is an ordering (scale) of those durations from shortest to longest like how long Austin takes to leave class, the duration range is the difference in length between the shortest and longest, and the duration hierarchy is an o... | Duration (music) |
c_rbskvy65opd3 | In music, dynamic range describes the difference between the quietest and loudest volume of an instrument, part or piece of music. In modern recording, this range is often limited through dynamic range compression, which allows for louder volume, but can make the recording sound less exciting or live.The dynamic range ... | Dynamic range |
c_povinyo2780m | In music, especially Schenkerian analysis, a voice exchange (German: Stimmtausch; also called voice interchange) is the repetition of a contrapuntal passage with the voices' parts exchanged; for instance, the melody of one part appears in a second part and vice versa. It differs from invertible counterpoint in that the... | Voice exchange |
c_hdeduuoegtse | It is a characteristic feature of rounds, although not usually called such.Patterns of voice exchange are sometimes schematized using letters for melodic patterns. A double voice exchange has the pattern: Voice 1: a b Voice 2: b a A triple exchange would thus be written: Voice 1: a b c Voice 2: c a b Voice 3: b c a The... | Voice exchange |
c_oqrk4wu3hfnm | In music, especially modern popular music, a slash chord or slashed chord, also compound chord, is a chord whose bass note or inversion is indicated by the addition of a slash and the letter of the bass note after the root note letter. It does not indicate "or". For example, a C major chord (C) in second inversion is w... | Slash chord |
c_nj1c78891h94 | Some chords may not otherwise be notated, such as A♭/A. Thus, a slash chord may also indicate the chord form or shape and an additional bass note. In popular music, where the exact arrangement of notes is less important than some other forms, slash chords are generally used only when the specific bass note is important... | Slash chord |
c_1jahf3clo17d | A common example in guitar based music is in the I-V-vi progression, in which the V chord is a passing chord. By placing the third of the V chord in the bass, a descending scale, also known as a walkdown, is created in the bass. For example, in the key of G major this would be the chords G, D/F♯, Em. | Slash chord |
c_3pxi4yie1s8k | That progression has the descending bassline G, F♯, E. This type of slash chord contains diatonically occurring notes. In traditional Classical notation it would be written using figured bass symbols. Another commonly used type of slash chord in chord progressions is the minor key progression i – i/VII bass – iv/VI bas... | Slash chord |
c_3xlg2fd0y9go | In music, extended chords are certain chords (built from thirds) or triads with notes extended, or added, beyond the seventh. Ninth, eleventh, and thirteenth chords are extended chords. The thirteenth is the farthest extension diatonically possible as, by that point, all seven tonal degrees are represented within the c... | Extended chords |
c_dsnudxk7tv9c | In practice however, extended chords do not typically use all the chord members; when it is not altered, the fifth is often omitted, as are notes between the seventh and the highest note (i.e., the ninth is often omitted in an eleventh chord; the ninth and eleventh are usually omitted in a thirteenth chord), unless the... | Extended chords |
c_376cegujpqtl | In music, extended technique is unconventional, unorthodox, or non-traditional methods of singing or of playing musical instruments employed to obtain unusual sounds or timbres.Composers’ use of extended techniques is not specific to contemporary music (for instance, Hector Berlioz’s use of col legno in his Symphonie F... | Extended techniques |
c_icl7z0cxpvll | Examples of extended techniques include bowing under the bridge of a string instrument or with two different bows, using key clicks on a wind instrument, blowing and overblowing into a wind instrument without a mouthpiece, or inserting objects on top of the strings of a piano. Twentieth-century exponents of extended te... | Extended techniques |
c_rdok12akchqs | In music, flat (Italian bemolle for "soft B") means "lower in pitch". Flat is the opposite of sharp, which is a raising of pitch. In musical notation, flat means "lower in pitch by one semitone (half step)", notated using the symbol ♭ which is derived from a stylised lowercase 'b'. | Double flat |
c_e0h7tagvt02o | In music, form describes the overall structure or plan of a song or piece of music, and it describes the layout of a composition as divided into sections. In the early 20th century, Tin Pan Alley songs and Broadway musical songs were often in AABA 32 bar form, in which the A sections repeated the same eight bar melody ... | Music |
c_rnq5t2tavqtu | Examples of common forms of Western music include the fugue, the invention, sonata-allegro, canon, strophic, theme and variations, and rondo. Scholes states that European classical music had only six stand-alone forms: simple binary, simple ternary, compound binary, rondo, air with variations, and fugue (although music... | Music |
c_4s32oqou2fbz | In music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show re... | Musical form |
c_h1ht04sh32l5 | Form in music is the result of the interaction of the four structural elements described above ." These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through the expansion and development of... | Musical form |
c_h90h2imurjyp | In tonal harmony, form is articulated primarily through cadences, phrases, and periods. "Form refers to the larger shape of the composition. Form in music is the result of the interaction of the four structural elements," of sound, harmony, melody, and rhythm.Although, it has been recently stated that form can be prese... | Musical form |
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