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c_3ou9q07h5pb4 | In music, the "Ode-to-Napoleon" hexachord (also magic hexachord and hexatonic collection or hexatonic set class) is the hexachord named after its use in the twelve-tone piece Ode to Napoleon Buonaparte (1942) by Arnold Schoenberg (setting a text by Byron). Containing the pitch-classes 014589 (C, C♯, E, F, G♯, A) it is ... | "Ode-to-Napoleon" hexachord |
c_53snb1gc0bfs | Its only five-note subset is 5-21 (0,1,4,5,8), the complement of which is 7-21 (0,1,2,4,5,8,9), the only superset of 6-20. The only more redundant hexachord is 6-35. It is also Ernő Lendvai's "1:3 Model" scale and one of Milton Babbitt's six all-combinatorial hexachord "source sets".The hexachord has been used by compo... | "Ode-to-Napoleon" hexachord |
c_dsy0cneyp6r1 | 41 di Arnold Schönberg (1950), Webern's Concerto, Op. 24, Schoenberg's Suite, Op. 29 (1926), Babbitt's Composition for Twelve Instruments (1948) and Composition for Four Instruments (1948) third and fourth movements. The hexachord has also been used by Alexander Scriabin and Béla Bartók but is not featured in the music... | "Ode-to-Napoleon" hexachord |
c_bfg7s7pbuszi | In music, the 'Farben' chord is a chord, in ascending order C–G♯–B–E–A, named after its use in Five Pieces for Orchestra, Op.16, No. 3, "Farben" (German: "colors") by Arnold Schoenberg. Its unordered pitch-class content in normal form is 01348 (e.g., C–C♯–E♭–E–G♯), its Forte number is 5-z17, in the taxonomy of Allen Fo... | Farben chord |
c_6bsqi4cqeddk | According to Forte, Schoenberg developed the pentad canonically in "Farben" (also titled "Summer Morning by a Lake" or "Chord-Colors"), while Alban Berg used the chord as one of three on which Act I scene 2 of Wozzeck is based. The pentad is "almost octatonic" and has been called "a 'classic' atonal set type". The chor... | Farben chord |
c_n9f8r8b0fmgd | In music, the 'northern lights' chord is an eleven-note chord from Ernst Krenek's Cantata for Wartime (1943), that represents the Northern Lights. Krenek's student Robert Erickson cited the chord as an example of a texture arranged so as to "closely approach the single-object status of fused-ensemble timbres, for examp... | Northern lights chord |
c_7lijulhjdz76 | "At eleven notes the chord is one pitch shy of the total chromatic. Every note except E is sounded. == References == | Northern lights chord |
c_2tpru24jtlvq | In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. In German musical nomenclature, in which the note B natural is named H and the B flat named B, it forms Johann Sebastian Bach's family name. One of the most frequently occurring examples of a mu... | BACH motif |
c_ua74i8165583 | In music, the Lydian augmented scale (Lydian ♯5 scale) is the third mode of the ascending melodic minor scale. Starting on C, the notes would be as follows: Generically the whole and half steps are: - W - W - W - W - H - W - H - The scale may be thought of as a major scale with an augmented fourth and fifth, or as the ... | Lydian augmented scale |
c_9zq7udt31xtc | In music, the Phrygian dominant scale is the fifth mode of the harmonic minor scale, the fifth being the dominant. Also called the altered Phrygian scale, dominant flat 2 flat 6 (in jazz), or Freygish scale (also spelled Fraigish). It resembles the Phrygian mode but with a major third, rather than a minor third. In the... | Phrygian major scale |
c_rfu9dy4u29o8 | In music, the Psalms chord is the opening chord of Igor Stravinsky's Symphony of Psalms. It is a "barking E minor triad" that is voiced "like no E-minor triad that was ever known before" – that is, in two highly separate groups, one in the top register and the other in the bottom register. The third of the E-minor tria... | Psalms chord |
c_toh5y4jyt711 | In music, the Romanian minor scale or Ukrainian Dorian scale or altered Dorian scale is a musical scale or the fourth mode of the harmonic minor scale. It is "similar to the dorian mode, but with a tritone and variable sixth and seventh degrees". It is related to both the Freygish and Misheberak scales and is used in J... | Ukrainian Dorian scale |
c_skdrpqaft6cm | Arab and Greek scholars give other names to the scale: Nikriz (نكريز) and Aulos, respectively. ""The pitches of the Mi Shebeyrekh mode correspond roughly to a Dorian mode with a raised fourth (for example, D, E, F, G♯, A, B, C, or if Katythian Enharmonic mode of Harmonic Minor ♭4:D♭, E, F, G♯, A, B, C); alternately, i... | Ukrainian Dorian scale |
c_qjkcewxpfrjv | Beregovski calls this pitch collection 'Ukrainian Dorian'. "The Ukrainian Dorian scale is used particularly extensively within Julian Cochran's music including the Romanian Dances and Mazurkas. | Ukrainian Dorian scale |
c_63fxzacmqc9z | It has also been used by George Gershwin. Another example is the Bert Kaempfert tune "Sweet Maria".Also called the Ukrainian minor scale, it is a combined type of musical scale. It figures prominently in Eastern European music, particularly Klezmer music, and melodies based on this scale have an exotic, romantic flavor... | Ukrainian Dorian scale |
c_oicjg055lnc6 | A Ukrainian minor scale in the key of C would proceed as follows: C D E♭ F♯ G A B♭. A Ukrainian minor scale in the key of B would proceed as follows: B C♯ D E♯ F♯ G♯ A. Its step pattern is w - h - + - h - w - h - w, where w indicates a whole step, h indicates a half step, and + indicates an augmented second, which look... | Ukrainian Dorian scale |
c_k127pexjxpof | This scale is obtainable from the harmonic minor scale by starting from the fourth of that scale. Said another way, the B Ukrainian minor scale is the fourth mode of the F# harmonic minor scale. When its tonic is lowered a semitone, we obtain the Katythian Enharmonic scale, the 4th mode of the Harmonic Minor ♭4 scale:B... | Ukrainian Dorian scale |
c_t5eoaxtmg4xl | In music, the V–IV–I turnaround, or blues turnaround, is one of several cadential patterns traditionally found in the twelve-bar blues, and commonly found in rock and roll.The cadence moves from the tonic to dominant, to subdominant, and back to the tonic. "In a blues in A, the turnaround will consist of the chords E7,... | Blues cadence |
c_phzh6z0go6e9 | In music, the acoustic scale, overtone scale, Lydian dominant scale (Lydian ♭7 scale), or the Mixolydian ♯4 scale is a seven-note synthetic scale. It is the fourth mode of the ascending melodic minor scale. This differs from the major scale in having an augmented fourth and a minor seventh scale degree. The term "acous... | Lydian dominant |
c_09ifrgp18ye9 | In music, the all-trichord hexachord is a unique hexachord that contains all twelve trichords, or from which all twelve possible trichords may be derived. The prime form of this set class is {012478} and its Forte number is 6-Z17. Its complement is 6-Z43 and they share the interval vector of <3,2,2,3,3,2>. It appears i... | All-trichord hexachord |
c_7pejv99egk2k | In music, the axis system is a system of analysis originating in the work of Ernő Lendvai, which he developed in his analysis of the music of Béla Bartók. The axis system is "concerned with harmonic and tonal substitution", and posits a novel type of functional relationship between tones and chords. Lendvai's analyses ... | Axis system |
c_uu79p1y3sni4 | In music, the bore of a wind instrument (including woodwind and brass) is its interior chamber. This defines a flow path through which air travels, which is set into vibration to produce sounds. The shape of the bore has a strong influence on the instrument's timbre. | Bore (wind instruments) |
c_pil5fziw7235 | In music, the cross motif is a motif. A motif (Crux fidelis) was used by Franz Liszt to represent the Christian cross ('tonisches Symbol des Kreuzes' or tonic symbol of the cross) and taken from Gregorian melodies. | Cross motif |
c_8oqfrnbzcj8j | In music, the distances between notes (intervals) are measured as ratios of their frequencies, with near-rational ratios often sounding harmonious. In western twelve-tone equal temperament, the ratio between consecutive note frequencies is 2 12 {\displaystyle {\sqrt{2}}} . The coincidence 2 19 ≈ 3 12 {\displaystyle 2^{... | Mathematical coincidence |
c_kur4oe387j05 | The coincidence ( 3 / 2 ) 4 = ( 81 / 16 ) ≈ 5 {\displaystyle {(3/2)}^{4}=(81/16)\approx 5} permitted the development of meantone temperament, in which just perfect fifths (ratio 3 / 2 {\displaystyle 3/2} ) and major thirds ( 5 / 4 {\displaystyle 5/4} ) are "tempered" so that four 3 / 2 {\displaystyle 3/2} 's is approxi... | Mathematical coincidence |
c_wvgvqp2n7vla | The coincidence 5 8 35 3 = 4.00000559 … ≈ 4 {\displaystyle {\sqrt{5}}{\sqrt{35}}=4.00000559\ldots \approx 4} leads to the rational version of quarter-comma meantone temperament. The coincidence of powers of 2, above, leads to the approximation that three major thirds concatenate to an octave, ( 5 / 4 ) 3 ≈ 2 / 1 {\disp... | Mathematical coincidence |
c_3fif12pyxmfw | In music, the dominant 7♯9 chord ("dominant seven sharp nine" or "dominant seven sharp ninth") is a chord built by combining a dominant seventh, which includes a major third above the root, with an augmented second, which is the same pitch, albeit given a different note name, as the minor third degree above the root. T... | Dominant seventh sharp ninth chord |
c_co0pfl3eopvv | In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the dominant because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)". The triad built on the dominant note is called the dominant chord. | Dominant function |
c_w5ahmera3eh1 | This chord is said to have dominant function, which means that it creates an instability that requires the tonic for resolution. Dominant triads, seventh chords, and ninth chords typically have dominant function. | Dominant function |
c_pyxsfbpywyyp | Leading-tone triads and leading-tone seventh chords may also have dominant function. In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the ... | Dominant function |
c_yfmhhe3j722b | In music, the dynamics of a piece are the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volum... | Dynamics (music) |
c_y064qcyzvfv8 | In music, the fifth factor of a chord is the note or pitch that is the fifth scale degree, counting the root or tonal center. When the fifth is the bass note, or lowest note, of the expressed chord, the chord is in second inversion . Conventionally, the fifth is second in importance to the root, with the fifth being pe... | Fifth (chord) |
c_kg91bnpobwsv | In jazz chords and theory however, the fifth is often omitted, or assumed, in preference for the chord quality determining third and chord extensions and additions. The fifth in a major and minor chord is perfect (G♮ in C). When the fifth of a major chord is raised it is an augmented chord (G♯ in C) . When the fifth of... | Fifth (chord) |
c_gtqwmjoe2637 | In music, the four harmonic Pythagorean tones play a prominent role in the pentatonic scale, particularly on the first, fourth, fifth, and eighth degrees of diatonic scales (especially in major and minor) and in the composition of cadences as fundamental tones of tonic, subdominant, and dominant. This sequence of tones... | Pythagorean hammers |
c_l46yr91p4j07 | In music, the fundamental is the musical pitch of a note that is perceived as the lowest partial present. The fundamental may be created by vibration over the full length of a string or air column, or a higher harmonic chosen by the player. The fundamental is one of the harmonics. A harmonic is any member of the harmon... | Fundamental tone |
c_xn94kc8wq69g | The reason a fundamental is also considered a harmonic is because it is 1 times itself.The fundamental is the frequency at which the entire wave vibrates. Overtones are other sinusoidal components present at frequencies above the fundamental. All of the frequency components that make up the total waveform, including th... | Fundamental tone |
c_vm2nyhst9299 | Together they form the harmonic series. Overtones which are perfect integer multiples of the fundamental are called harmonics. | Fundamental tone |
c_xjw541e1azyz | When an overtone is near to being harmonic, but not exact, it is sometimes called a harmonic partial, although they are often referred to simply as harmonics. Sometimes overtones are created that are not anywhere near a harmonic, and are just called partials or inharmonic overtones. The fundamental frequency is conside... | Fundamental tone |
c_perichnyqgpe | The numbering of the partials and harmonics is then usually the same; the second partial is the second harmonic, etc. But if there are inharmonic partials, the numbering no longer coincides. Overtones are numbered as they appear above the fundamental. So strictly speaking, the first overtone is the second partial (and ... | Fundamental tone |
c_yy9xbquioe9b | In music, the lament bass is a ground bass, built from a descending perfect fourth from tonic to dominant, with each step harmonized. The diatonic version is the upper tetrachord from the natural minor scale, known as the Phrygian tetrachord, while the chromatic version, the chromatic fourth, has all semitones filled i... | Lament bass |
c_61a9o41ftteu | In music, the main goal of 5.1 surround sound is a proper localization and equability of all acoustic sources for a center-positioned audience. Therefore, ideally five matched speakers should be used. | 5.1 channel |
c_9csf9wwfh6ks | In music, the major Locrian scale, also called the Locrian major scale, is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G♭ A♭ B♭. It can be described as a whole tone scale extending from G♭ to E, with F introduced within th... | Major Locrian scale |
c_szqanmojmwry | It can also be the natural minor scale or Aeolian mode with raised third and lowered fifth intervals. It may also be derived from the Phrygian Dominant scale, but this time, the second is major, while the fifth is diminished. | Major Locrian scale |
c_n4am87squ6u4 | In English, Arabian scale may refer to what is known as the major Locrian scale. A version of the major Locrian scale is listed as mode 3 in the French translation of Safi Al-Din's treatise Kitab Al-Adwar. This was a Pythagorean version of the scale. | Major Locrian scale |
c_4ampcp1sq3b5 | Aside from this Arabic version, interest in the major Locrian is a phenomenon of the twentieth century, but the scale is definable in any meantone system. It is notable as one of the five proper seven-note scales in equal temperament, and as strictly proper in any meantone tuning with fifths flatter than 700 cents. If ... | Major Locrian scale |
c_ej3lewkf8dtk | The major Locrian scale is the 5th mode of the Neapolitan major scale, which may be used in conjunction with the Neapolitan chord, but is not limited to it. This scale is also known as melodic minor ♭2. Its modes and corresponding seventh chords are: Neapolitan major; CmM7 (add ♭9, 11, and 13) (Dorian mode with major s... | Major Locrian scale |
c_iucjhfmjk8r8 | In music, the major Neapolitan scale and the minor Neapolitan scale are two musical scales. Both scales are minor, in that they both contain the note a minor third above the root. The major and minor Neapolitan scales are instead differentiated by the quality of their sixth. The sequence of scale steps for the Neapolit... | Neapolitan minor scale |
c_os4ehx1nlnbr | This could also be known as the "Phrygian harmonic minor" or "Phrygian melodic minor." The scale therefore shares with the Phrygian mode the property of having a minor second above the tonic. | Neapolitan minor scale |
c_el6x6zx1kayt | Both are accompanied well by power or minor chords.The 4th mode of the Neapolitan major, also known as the Lydian Dominant ♭6 scale, is an excellent choice for the 9♯11/♭13 (no 5) chord. Said mode contains all the alterations plus the ♮5. A whole tone scale is often used but that mode tends to be minus the ♮5 that the ... | Neapolitan minor scale |
c_kxvg0n3nfhlp | In music, the minor diatonic semitone is a ratio of 17:16, making it the seventeenth harmonic or partial. This is in contrast to the 5-limit major diatonic semitone of 16/15. | Seventeenth harmonic |
c_vs2bkylpec1q | In music, the mystic chord or Prometheus chord is a six-note synthetic chord and its associated scale, or pitch collection; which loosely serves as the harmonic and melodic basis for some of the later pieces by Russian composer Alexander Scriabin. Scriabin, however, did not use the chord directly but rather derived mat... | Prometheus scale |
c_si0la7q2is93 | In music, the organ is a keyboard instrument of one or more pipe divisions or other means for producing tones. The organs have usually two or three, up to five manuals, for playing with the hands, and pedalboard, with the feet. With the use of registers, several groups of pipes can be connected to one manual. | Church organ |
c_8ylyhdovsc99 | In music, the septimal major third , also called the supermajor third (by Hermann von Helmholtz among others), septimal supermajor third, and sometimes Bohlen–Pierce third is the musical interval exactly or approximately equal to a just 9:7 ratio of frequencies, or alternately 14:11. It is equal to 435 cents, sharper t... | Septimal major third |
c_7t1qpr2xmh2z | This interval has a characteristic brassy sound which is much less sweet than a pure major third, but is classed as a 9-limit consonance. Together with the root 1:1 and the perfect fifth of 3:2, it makes up the septimal major triad, or septimal supermajor triad . However, in terms of the overtone series, this is a uton... | Septimal major third |
c_wng5esczf29g | The septimal major triad can also be represented by the ratio 14:18:21. The septimal major triad contains an interval of a septimal minor third between its third and fifth ( 3:2 / 9:7 = 7:6 ). Similarly, the septimal major third is the interval between the third and the fifth of the septimal minor triad. | Septimal major third |
c_w7trxf9ny8xl | In the early meantone era the interval made its appearance as the alternative major third in remote keys, under the name diminished fourth. Tunings of the meantone fifth in the neighborhood of Zarlino's 2⁄7-comma meantone will give four septimal thirds among the twelve major thirds of the tuning; this entails that thre... | Septimal major third |
c_1be2tkafity1 | 22 equal temperament has a very close match to this interval. In this temperament, four fifths minus two octaves equals a septimal major third, not an ordinary major third. == References == | Septimal major third |
c_xf8yvlvsp3yg | In music, the septimal minor third, also called the subminor third (e.g., by Ellis) or septimal subminor third, is the musical interval exactly or approximately equal to a 7/6 ratio of frequencies. In terms of cents, it is 267 cents, a quartertone of size 36/35 flatter than a just minor third of 6/5. In 24-tone equal t... | Septimal minor third |
c_b5q5pav42wq5 | The septimal major sixth, 12/7, is the inverse of this interval. The septimal minor third may be derived in the harmonic series from the seventh harmonic, and as such is in inharmonic ratios with all notes in the regular 12TET scale, with the exception of the fundamental and the octave. It has a darker but generally pl... | Septimal minor third |
c_5vp8fmh86c9q | A triad formed by using it in place of the minor third is called a "septimal minor" or "subminor triad" . In the meantone era the interval made its appearance as the alternative minor third in remote keys, under the name augmented second. Tunings of the meantone fifth in the neighborhood of quarter-comma meantone will ... | Septimal minor third |
c_artzsrepaspw | Composer Ben Johnston uses a small "7" as an accidental to indicate a note is lowered 49 cents, or an upside down seven ("ㄥ") to indicate a note is raised 49 cents.The position of this note also appears on the scale of the Moodswinger. Yuri Landman indicated the harmonic positions of his instrument in a color dotted se... | Septimal minor third |
c_guyr04r50ga8 | In music, the septimal semicomma, a seven-limit semicomma, is the ratio 126/125 and is equal to approximately 13.79 cents (). It is also called the small septimal comma and the starling comma after its use in starling temperament. Factored into primes it is: 2 ∗ 3 2 ∗ 5 − 3 ∗ 7 {\displaystyle 2*3^{2}*5^{-3}*7} Or as si... | Septimal semicomma |
c_2ytsmpzbyjye | In music, the septimal whole tone, septimal major second, or supermajor second is the musical interval exactly or approximately equal to an 8/7 ratio of frequencies. It is about 231 cents wide in just intonation. 24 equal temperament does not match this interval particularly well, its nearest representation being at 25... | Septimal whole tone |
c_vu48bqxpkedz | It can also be thought of as the octave inversion of the 7/4 interval, the harmonic seventh. No close approximation to this interval exists in the standard 12 equal temperament used in most modern western music. The very simple 5 equal temperament is the smallest system to match this interval well. | Septimal whole tone |
c_81y9qkdz9w6w | 26 equal temperament matches this interval almost perfectly with an error of only 0.4 cents, but at the cost of the significant flatness of its major thirds and fifths. 31 equal temperament, which has much more accurate fifths and major thirds, approximates 8/7 with a slightly higher error of 1.1 cents. == References =... | Septimal whole tone |
c_puk0mt1af9ic | In music, the term abstraction can be used to describe improvisatory approaches to interpretation, and may sometimes indicate abandonment of tonality. Atonal music has no key signature, and is characterized by the exploration of internal numeric relationships. | Abstract thinking |
c_itgtnkh4crcv | In music, the term open string refers to the fundamental note of the unstopped, full string. The strings of a guitar are normally tuned to fourths (excepting the G and B strings in standard tuning, which are tuned to a third), as are the strings of the bass guitar and double bass. Violin, viola, and cello strings are t... | Tuning systems |
c_r0ecyvjxcqeh | To tune an instrument, often only one reference pitch is given. This reference is used to tune one string, to which the other strings are tuned in the desired intervals. On a guitar, often the lowest string is tuned to an E. From this, each successive string can be tuned by fingering the fifth fret of an already tuned ... | Tuning systems |
c_2vefgctplee2 | This works with the exception of the G string, which must be stopped at the fourth fret to sound B against the open B string above. Alternatively, each string can be tuned to its own reference tone. Note that while the guitar and other modern stringed instruments with fixed frets are tuned in equal temperament, string ... | Tuning systems |
c_7hxu0oxth5jf | In music, the term slap tonguing refers to a musician playing a single-reed instrument such as a clarinet or a saxophone employing a technique to produce a popping sound along with the note. | Slap tonguing |
c_rtzm32lzu019 | In music, the term swing has two main uses. Colloquially, it is used to describe the propulsive quality or "feel" of a rhythm, especially when the music prompts a visceral response such as foot-tapping or head-nodding (see pulse). This sense can also be called "groove". It is also known as shuffle. The term swing, as w... | Swung note |
c_snk0i4m3n7aq | In music, the terms Afro/cosmic disco, the cosmic sound, free-style sound, and combinations thereof (Afro, cosmic Afro, Afro-cosmic, Afro-freestyle, etc., as well as Afro-funky and later Afro house) are used somewhat interchangeably to describe various forms of synthesizer-heavy and/or African-influenced dance music an... | Afro/cosmic music |
c_0sdtaf2bhni8 | In music, the terms additive and divisive are used to distinguish two types of both rhythm and meter: A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units... | Divisive rhythm |
c_g4nljedbl113 | Thus, 48 (or, more commonly, 24) is divisive while 58 is additive. The terms additive and divisive originate with Curt Sachs's book Rhythm and Tempo (1953), while the term aksak rhythm was introduced for the former concept at about the same time by Constantin Brăiloiu, in agreement with the Turkish musicologist Ahmet A... | Divisive rhythm |
c_eca85m55itbe | The relationship between additive and divisive rhythms is complex, and the terms are often used in imprecise ways. In his article on rhythm in the second edition of the New Grove Dictionary of Music and Musicians, Justin London states that: n discussions of rhythmic notation, practice or style, few terms are as confusi... | Divisive rhythm |
c_i2p1jwk7lnuq | The first is a failure to distinguish between systems of notation (which may have both additive and divisive aspects) and the music notated under such a system. The second involves a failure to understand the divisive and additive aspects of meter itself. Winold recommends that, "metric structure is best described thro... | Divisive rhythm |
c_i6g8sm0trnyt | In music, the third factor of a chord is the note or pitch two scale degrees above the root or tonal center. When the third is the bass note, or lowest note, of the expressed triad, the chord is in first inversion. | Minor tenth |
c_nvvt38q5lrnu | In music, the three-key exposition is a particular kind of exposition used in sonata form. Normally, a sonata form exposition has two main key areas. The first asserts the primary key of the piece, that is, the tonic. The second section moves to a different key, establishes that key firmly, arriving ultimately at a cad... | Three-key exposition |
c_3ujssu3co32j | In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note... | Tonal center |
c_lizvygyjhzm3 | Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major an... | Tonal center |
c_012at7c7c93b | In music, the undertone series or subharmonic series is a sequence of notes that results from inverting the intervals of the overtone series. While overtones naturally occur with the physical production of music on instruments, undertones must be produced in unusual ways. While the overtone series is based upon arithme... | Undertone series |
c_ioou4aoiji1g | In music, the vi–ii–V–I progression is a chord progression (also called the circle progression for the circle of fifths, along which it travels). A vi–ii–V–I progression in C major (with inverted chords) is shown below. It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "... | Circle progression |
c_yysto91q3d8i | In music, the ♭VII–V7 cadence is a cadence using the chord progression from the subtonic (♭VII) to the dominant seventh (V7). It resolves to I making the full cadence ♭VII–V7–I. A "mainstay in all rock styles of the '60s", the cadence, heard perhaps most canonically (and often) in Billy J. Kramer's "Little Children", c... | ♭VII–V7 cadence |
c_f5nbu2ksmvna | In music, there are two common meanings for tuning: Tuning practice, the act of tuning an instrument or voice. Tuning systems, the various systems of pitches used to tune an instrument, and their theoretical bases. | Tempered tuning |
c_ghqqxpgdyzyp | In music, they are known as "accolades" or "braces", and connect two or more lines (staves) of music that are played simultaneously. | Right parenthesis |
c_unz41xktyn3q | In music, timbre (), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or tone. Timbre distinguishes different types of sound production, such as choir voices and musical instruments. It also enables listeners to distinguish different instruments in... | Timbre |
c_wexjnma2a6yn | For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctively with its own uniq... | Timbre |
c_dhqceeof3c7c | The physical characteristics of sound that determine the perception of timbre include frequency spectrum and envelope. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques. For example, a violinist can use different bowing styles... | Timbre |
c_scvwpdg9no9l | In music, tonal memory or "aural recall" is the ability to remember a specific tone after it has been heard. Tonal memory assists with staying in tune and may be developed through ear training. Extensive tonal memory may be recognized as an indication of potential compositional ability.Tonal memory may be used as a str... | Tonal memory |
c_pafqax3ldgv2 | Although those who attempt the strategy believe they are learning absolute pitch, the ability is generally not musically useful, and their absolute tonal memory declines substantially or completely over time if not constantly reinforced.When listening to music, tones are stored in short-term memory as they are heard. T... | Tonal memory |
c_hnbwlv5fewyg | In music, transcription is the practice of notating a piece or a sound which was previously unnotated and/or unpopular as a written music, for example, a jazz improvisation or a video game soundtrack. When a musician is tasked with creating sheet music from a recording and they write down the notes that make up the pie... | Musical transcription |
c_74tt6g32gqi1 | Transcription in this sense is sometimes called arrangement, although strictly speaking transcriptions are faithful adaptations, whereas arrangements change significant aspects of the original piece. Further examples of music transcription include ethnomusicological notation of oral traditions of folk music, such as Bé... | Musical transcription |
c_0sixtap83c6d | Transcription of this nature involves scale degree recognition and harmonic analysis, both of which the transcriber will need relative or perfect pitch to perform. In popular music and rock, there are two forms of transcription. Individual performers copy a note-for-note guitar solo or other melodic line. | Musical transcription |
c_b0fj045sac60 | As well, music publishers transcribe entire recordings of guitar solos and bass lines and sell the sheet music in bound books. Music publishers also publish PVG (piano/vocal/guitar) transcriptions of popular music, where the melody line is transcribed, and then the accompaniment on the recording is arranged as a piano ... | Musical transcription |
c_zpgithckof12 | In music, transposition refers to the process or operation of moving a collection of notes (pitches or pitch classes) up or down in pitch by a constant interval. The shifting of a melody, a harmonic progression or an entire musical piece to another key, while maintaining the same tone structure, i.e. the same successio... | Transpositionally equivalent |
c_b2m0xvmzl5f4 | In music, underlay refers to text intended for vocalization – positioned either directly or indirectly under notes on a musical staff. == References == | Underlay |
c_c68lq0v8l4sb | In music, unified field is the 'unity of musical space' created by the free use of melodic material as harmonic material and vice versa. The technique is most associated with the twelve-tone technique, created by its 'total thematicism' where a tone-row (melody) generates all (harmonic) material. It was also used by Al... | Unified field |
c_49t3021953nq | In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. Rhythmic unison is another term for homorhythm. | Unison |
c_hgleoykoyl5v | In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these. | Theme and variations |
c_hvip9hvcgl9g | In music, when writing chord sheets, single vertical bars associated with a colon (|: A / / / :|) represents the beginning and end of a section (e.g. Intro, Interlude, Verse, Chorus) of music. Single bars can also represent the beginning and end of measures (|: A / / / | D / / / | E / / / :|). A double vertical bar ass... | ¦ |
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