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In music theory, the harmonic major scale is a musical scale found in some music from the common practice era and now used occasionally, most often in jazz. In George Russell's Lydian Chromatic Concept it is the fifth mode (V) of the Lydian Diminished scale. It corresponds to the Raga Sarasangi in Indian Carnatic music. | https://en.wikipedia.org/wiki/Harmonic_major_scale |
It can be considered a major scale with the sixth degree lowered, Ionian ♭6, or the harmonic minor scale with the third degree raised. The intervals between the notes of a harmonic major scale follow the sequence below: whole, whole, half, whole, half, augmented second, halfThe harmonic major scale may be used to construct the following chords, which also may be thought of as borrowed from the parallel minor: the dominant minor ninth chord, the fully diminished seventh leading tone chord, the supertonic diminished triad, the supertonic half-diminished seventh chord, and the minor subdominant. It also contains an augmented triad. | https://en.wikipedia.org/wiki/Harmonic_major_scale |
The harmonic major scale has its own set of modes, distinct from the harmonic minor, melodic minor, and major modes, depending on which note serves as the tonic. Below are the mode names, their degrees, and the following seventh chords that can be built using each modal tonic or degree of the parent mode as the root: a major seventh chord, a half-diminished seventh chord, a minor seventh chord, a minor major seventh chord, a dominant seventh chord, an augmented major seventh chord, and a diminished seventh chord. Harmonic minor contains the same types of seventh chords, but in a different order. | https://en.wikipedia.org/wiki/Harmonic_major_scale |
For example, a D-flat major scale consists of the notes: D♭ E♭ F G♭ A♭ B♭ C; whereas a D-flat harmonic major scale consists of the notes: D♭ E♭ F G♭ A♭ B C. Notice the sixth note in the sequence is lowered, from B♭ to B. The C-sharp harmonic major scale can also be obtained from the C-sharp harmonic minor scale, which is C♯ D♯ E F♯ G♯ A B♯, by raising the E to E♯. The C harmonic major scale may be derived from the F melodic minor scale with a raised fourth: F G A♭ B C D E. The harmonic major scale may also be considered a synthetic scale, primarily used for implying and relating to various altered chords, with major and minor qualities in each tetrachord. Thus the musical effect of the harmonic major scale is a sound intermediate between harmonic minor and diatonic major, and partaking of both. | https://en.wikipedia.org/wiki/Harmonic_major_scale |
The harmonic major scale may be used in any system of meantone tuning, such as 19 equal temperament or 31 equal temperament, as well as 12 equal temperament. One interesting property of this scale is that for any diatonic scale, there is a relative major or minor mode, and if each of these is made harmonic major or harmonic minor, the accidental required in each "harmonic" scale is actually the same note spelled enharmonically. For example, the added accidental in C harmonic major, A♭ (shown in first image), is enharmonically equivalent to the added accidental, G♯, in the relative harmonic minor of C major, A harmonic minor. | https://en.wikipedia.org/wiki/Harmonic_major_scale |
Also, another enharmonic mode of the scale is the Jazz Minor b5 scale (Jeths's mode) (B in C Harmonic Major, Cb in F Jazz Minor b5). Like the familiar major, melodic minor, and harmonic minor scales, the harmonic major scale has the diatonic thirds property, which means that the interval between notes two steps apart (e.g. the second and fourth note, or the third and fifth note, etc..) are separated by a major or minor third, i.e. the interval of three or four semitones. There are only seven such scales in equal temperament, including whole tone, hexatonic from alternating minor thirds and semitones, diatonic, ascending melodic minor, harmonic minor, harmonic major, and octatonic (diminished). | https://en.wikipedia.org/wiki/Harmonic_major_scale |
This property implies that chords formed by taking every other note from some consecutive subset of the scale are triadic, raising the possibility of using tertian harmony together with melodic material from such a scale. The harmonic major scale is also one of the five proper seven-note scales of equal temperament. Like five of those other six scales, it is a complete circle of thirds; starting from the tonic the pattern is MmmmMMm, where M is a major third and m is a minor third.Harmonic major is not commonly taught as a tonality, so chords borrowed from this diatonic tonality are not recognized as readily as those from the tonalities of major, harmonic minor, and melodic minor. Many popular songs have borrowed chords from the tonality of harmonic major but have not been recognized as doing so. Examples are 'After You've Gone', 'Blackbird', 'Sleep Walk', 'Dream A Little Dream Of Me'. | https://en.wikipedia.org/wiki/Harmonic_major_scale |
In music theory, the interval or perceptual difference between two tones is determined by the ratio of their frequencies. Intervals coming from rational number ratios with small numerators and denominators are perceived as particularly euphonious. The simplest and most important of these intervals is the octave, a frequency ratio of 2:1. The number of octaves by which two tones differ is the binary logarithm of their frequency ratio.To study tuning systems and other aspects of music theory that require finer distinctions between tones, it is helpful to have a measure of the size of an interval that is finer than an octave and is additive (as logarithms are) rather than multiplicative (as frequency ratios are). | https://en.wikipedia.org/wiki/Binary_logarithm |
That is, if tones x, y, and z form a rising sequence of tones, then the measure of the interval from x to y plus the measure of the interval from y to z should equal the measure of the interval from x to z. Such a measure is given by the cent, which divides the octave into 1200 equal intervals (12 semitones of 100 cents each). Mathematically, given tones with frequencies f1 and f2, the number of cents in the interval from f1 to f2 is | 1200 log 2 f 1 f 2 | . {\displaystyle \left|1200\log _{2}{\frac {f_{1}}{f_{2}}}\right|.} The millioctave is defined in the same way, but with a multiplier of 1000 instead of 1200. | https://en.wikipedia.org/wiki/Binary_logarithm |
In music theory, the just intonation of the diatonic scale involves regular numbers: the pitches in a single octave of this scale have frequencies proportional to the numbers in the sequence 24, 27, 30, 32, 36, 40, 45, 48 of nearly consecutive regular numbers. Thus, for an instrument with this tuning, all pitches are regular-number harmonics of a single fundamental frequency. This scale is called a 5-limit tuning, meaning that the interval between any two pitches can be described as a product 2i3j5k of powers of the prime numbers up to 5, or equivalently as a ratio of regular numbers.5-limit musical scales other than the familiar diatonic scale of Western music have also been used, both in traditional musics of other cultures and in modern experimental music: Honingh & Bod (2005) list 31 different 5-limit scales, drawn from a larger database of musical scales. Each of these 31 scales shares with diatonic just intonation the property that all intervals are ratios of regular numbers. | https://en.wikipedia.org/wiki/Hamming_numbers |
Euler's tonnetz provides a convenient graphical representation of the pitches in any 5-limit tuning, by factoring out the octave relationships (powers of two) so that the remaining values form a planar grid. Some music theorists have stated more generally that regular numbers are fundamental to tonal music itself, and that pitch ratios based on primes larger than 5 cannot be consonant. | https://en.wikipedia.org/wiki/Hamming_numbers |
However the equal temperament of modern pianos is not a 5-limit tuning, and some modern composers have experimented with tunings based on primes larger than five.In connection with the application of regular numbers to music theory, it is of interest to find pairs of regular numbers that differ by one. There are exactly ten such pairs ( x , x + 1 ) {\displaystyle (x,x+1)} and each such pair defines a superparticular ratio x + 1 x {\displaystyle {\tfrac {x+1}{x}}} that is meaningful as a musical interval. These intervals are 2/1 (the octave), 3/2 (the perfect fifth), 4/3 (the perfect fourth), 5/4 (the just major third), 6/5 (the just minor third), 9/8 (the just major tone), 10/9 (the just minor tone), 16/15 (the just diatonic semitone), 25/24 (the just chromatic semitone), and 81/80 (the syntonic comma).In the Renaissance theory of universal harmony, musical ratios were used in other applications, including the architecture of buildings. In connection with the analysis of these shared musical and architectural ratios, for instance in the architecture of Palladio, the regular numbers have also been called the harmonic whole numbers. | https://en.wikipedia.org/wiki/Hamming_numbers |
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music. Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale. A particular key features a tonic note and its corresponding chords, also called a tonic or tonic chord, which provides a subjective sense of arrival and rest, and also has a unique relationship to the other pitches of the same key, their corresponding chords, and pitches and chords outside the key. Notes and chords other than the tonic in a piece create varying degrees of tension, resolved when the tonic note or chord returns. | https://en.wikipedia.org/wiki/Musical_key |
The key may be in the major or minor mode, though musicians assume major when this is not specified; for example "This piece is in C" implies that the key of the piece is C major. Popular songs and classical music from the common practice period are usually in one key. Longer pieces in the classical repertoire may have sections in contrasting keys. Key changes within a section or movement are known as modulation. | https://en.wikipedia.org/wiki/Musical_key |
In music theory, the middle eight or bridge is the B section of a 32-bar form. This section has a significantly different melody from the rest of the song and usually occurs after the second "A" section in the AABA song form. It is also called a middle eight because it happens in the middle of the song and the length is generally eight bars. | https://en.wikipedia.org/wiki/32_bar_form |
In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – mirroring the major scale, with its harmonic and melodic forms In each of these scales, the first, third, and fifth scale degrees form a minor triad (rather than a major triad, as in a major scale). In some contexts, minor scale is used to refer to any heptatonic scale with this property (see Related modes below). | https://en.wikipedia.org/wiki/Melodic_minor_scale |
In music theory, the recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition. This material is most often recapitulated in the tonic key of the movement, in such a way that it reaffirms that key as the movement's home key. | https://en.wikipedia.org/wiki/Recapitulation_(music) |
In some sonata form movements, the recapitulation presents a straightforward image of the movement's exposition. However, many sonata form movements, even early examples, depart from this simple procedure. Devices used by composers include incorporating a secondary development section, or varying the character of the original material, or rearranging its order, or adding new material, or omitting material altogether, or overlaying material that was kept separate in the exposition. The composer of a sonata form movement may disguise the start of the recapitulation as an extension of the development section. Conversely, the composer may write a "false recapitulation", which gives the listener the idea that the recapitulation has begun, but proves on further listening to be an extension of the development section. | https://en.wikipedia.org/wiki/Recapitulation_(music) |
In music theory, the scale degree is the position of a particular note on a scale relative to the tonic—the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor. In the most general sense, the scale degree is the number given to each step of the scale, usually starting with 1 for tonic. Defining it like this implies that a tonic is specified. | https://en.wikipedia.org/wiki/Scale_degrees |
For instance, the 7-tone diatonic scale may become the major scale once the proper degree has been chosen as tonic (e.g. the C-major scale C–D–E–F–G–A–B, in which C is the tonic). If the scale has no tonic, the starting degree must be chosen arbitrarily. In set theory, for instance, the 12 degrees of the chromatic scale usually are numbered starting from C=0, the twelve pitch classes being numbered from 0 to 11. | https://en.wikipedia.org/wiki/Scale_degrees |
In a more specific sense, scale degrees are given names that indicate their particular function within the scale (see table below). This implies a functional scale, as is the case in tonal music. This example gives the names of the functions of the scale degrees in the seven note diatonic scale. | https://en.wikipedia.org/wiki/Scale_degrees |
The names are the same for the major and minor scales, only the seventh degree changes name when flattened: The term scale step is sometimes used synonymously with scale degree, but it may alternatively refer to the distance between two successive and adjacent scale degrees (see steps and skips). The terms "whole step" and "half step" are commonly used as interval names (though "whole scale step" or "half scale step" are not used). The number of scale degrees and the distance between them together define the scale they are in. In Schenkerian analysis, "scale degree" (or "scale step") translates Schenker's German Stufe, denoting "a chord having gained structural significance" (see Schenkerian analysis#Harmony). | https://en.wikipedia.org/wiki/Scale_degrees |
In music theory, the spiral array model is an extended type of pitch space. A mathematical model involving concentric helices (an "array of spirals"), it represents human perceptions of pitches, chords, and keys in the same geometric space. It was proposed in 2000 by Elaine Chew in her MIT doctoral thesis Toward a Mathematical Model of Tonality. Further research by Chew and others have produced modifications of the spiral array model, and, applied it to various problems in music theory and practice, such as key finding (symbolic and audio), pitch spelling, tonal segmentation, similarity assessment, and musical humor. | https://en.wikipedia.org/wiki/Spiral_array_model |
The extensions and applications are described in Mathematical and Computational Modeling of Tonality: Theory and Applications.The spiral array model can be viewed as a generalized tonnetz, which maps pitches into a two-dimensional lattice (array) structure. The spiral array wraps up the two-dimensional tonnetz into a three-dimensional lattice, and models higher order structures such as chords and keys in the interior of the lattice space. This allows the spiral array model to produce geometric interpretations of relationships between low- and high-level structures. | https://en.wikipedia.org/wiki/Spiral_array_model |
For example, it is possible to model and measure geometrically the distance between a particular pitch and a particular key, both represented as points in the spiral array space. To preserve pitch spelling, because musically A# ≠ Bb in their function and usage, the spiral array does not assume enharmonic equivalence, i.e. it does not fold into a torus. The spatial relationships between pitches, between chords, and between keys agree with those in other representations of tonal space.The model and its real-time algorithms have been implemented in the tonal visualization software MuSA.RT (Music on the Spiral Array . Real-Time) and a free app, MuSA_RT, both of which have been used in music education videos and in live performance. | https://en.wikipedia.org/wiki/Spiral_array_model |
In music theory, the syntonic comma, also known as the chromatic diesis, the Didymean comma, the Ptolemaic comma, or the diatonic comma is a small comma type interval between two musical notes, equal to the frequency ratio 81:80 (= 1.0125) (around 21.51 cents). Two notes that differ by this interval would sound different from each other even to untrained ears, but would be close enough that they would be more likely interpreted as out-of-tune versions of the same note than as different notes. The comma is also referred to as a Didymean comma because it is the amount by which Didymus corrected the Pythagorean major third (81:64, around 407.82 cents) to a just major third (5:4, around 386.31 cents). The word "comma" came via Latin from Greek κόμμα, from earlier *κοπ-μα = "a thing cut off". | https://en.wikipedia.org/wiki/Syntonic_comma |
In music theory, the term mode or modus is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) | https://en.wikipedia.org/wiki/Musical_mode |
Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek tonoi do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. | https://en.wikipedia.org/wiki/Musical_mode |
Modal rhythm was an essential feature of the modal notation system of the Notre-Dame school at the turn of the 12th century. In the mensural notation that emerged later, modus specifies the subdivision of the longa. Outside of Western classical music, "mode" is sometimes used to embrace similar concepts such as Octoechos, maqam, pathet etc. (see #Analogues in different musical traditions below). | https://en.wikipedia.org/wiki/Musical_mode |
In music theory, the tritone is defined as a musical interval composed of three adjacent whole tones (six semitones). For instance, the interval from F up to the B above it (in short, F–B) is a tritone as it can be decomposed into the three adjacent whole tones F–G, G–A, and A–B. Narrowly defined, each of these whole tones must be a step in the scale, so by this definition, within a diatonic scale there is only one tritone for each octave. For instance, the above-mentioned interval F–B is the only tritone formed from the notes of the C major scale. | https://en.wikipedia.org/wiki/Tritone |
More broadly, a tritone is also commonly defined as any interval with a width of three whole tones (spanning six semitones in the chromatic scale), regardless of scale degrees. According to this definition, a diatonic scale contains two tritones for each octave. For instance, the above-mentioned C major scale contains the tritones F–B (from F to the B above it, also called augmented fourth) and B–F (from B to the F above it, also called diminished fifth, semidiapente, or semitritonus); the latter is decomposed as a semitone B–C, a whole tone C–D, a whole tone D–E, and a semitone E–F, for a total width of three whole tones, but composed as four steps in the scale. | https://en.wikipedia.org/wiki/Tritone |
In twelve-equal temperament, the tritone divides the octave exactly in half as 6 of 12 semitones or 600 of 1,200 cents.In classical music, the tritone is a harmonic and melodic dissonance and is important in the study of musical harmony. The tritone can be used to avoid traditional tonality: "Any tendency for a tonality to emerge may be avoided by introducing a note three whole tones distant from the key note of that tonality." The tritone found in the dominant seventh chord can also drive the piece of music towards resolution with its tonic. | https://en.wikipedia.org/wiki/Tritone |
These various uses exhibit the flexibility, ubiquity, and distinctness of the tritone in music. The condition of having tritones is called tritonia; that of having no tritones is atritonia. A musical scale or chord containing tritones is called tritonic; one without tritones is atritonic. | https://en.wikipedia.org/wiki/Tritone |
In music theory, the wolf fifth (sometimes also called Procrustean fifth, or imperfect fifth) is a particularly dissonant musical interval spanning seven semitones. Strictly, the term refers to an interval produced by a specific tuning system, widely used in the sixteenth and seventeenth centuries: the quarter-comma meantone temperament. More broadly, it is also used to refer to similar intervals (of close, but variable magnitudes) produced by other tuning systems, including Pythagorean and most meantone temperaments. When the twelve notes within the octave of a chromatic scale are tuned using the quarter-comma mean-tone systems of temperament, one of the twelve intervals spanning seven semitones (classified as a diminished sixth) turns out to be much wider than the others (classified as perfect fifths). | https://en.wikipedia.org/wiki/Wolf_interval |
In mean-tone systems, this interval is usually from C♯ to A♭ or from G♯ to E♭ but can be moved in either direction to favor certain groups of keys. The eleven perfect fifths sound almost perfectly consonant. Conversely, the diminished sixth is severely dissonant and seems to howl like a wolf, because of a phenomenon called beating. | https://en.wikipedia.org/wiki/Wolf_interval |
Since the diminished sixth is meant to be enharmonically equivalent to a perfect fifth, this anomalous interval has come to be called the wolf fifth. Besides the above-mentioned quarter comma meantone, other tuning systems may produce severely dissonant diminished sixths. Conversely, in 12-tone equal temperament, which is currently the most commonly used tuning system, the diminished sixth is not a wolf fifth, as it has exactly the same size as a perfect fifth. By extension, any interval which is perceived as severely dissonant and may be regarded as "howling like a wolf" may be called a wolf interval. For instance, in quarter comma meantone, the augmented second, augmented third, augmented fifth, diminished fourth and diminished seventh may be considered wolf intervals, as their size significantly deviates from the size of the corresponding justly tuned interval (see Size of quarter-comma meantone intervals). | https://en.wikipedia.org/wiki/Wolf_interval |
In music theory, voicing refers to two closely related concepts: How a musician or group distributes, or spaces, notes and chords on one or more instruments The simultaneous vertical placement of notes in relation to each other; this relates to the concepts of spacing and doublingIt includes the instrumentation and vertical spacing and ordering of the musical notes in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each note. | https://en.wikipedia.org/wiki/Chord_voicing |
In music using the twelve tone technique, combinatoriality is a quality shared by twelve-tone tone rows whereby each section of a row and a proportionate number of its transformations combine to form aggregates (all twelve tones). Much as the pitches of an aggregate created by a tone row do not need to occur simultaneously, the pitches of a combinatorially created aggregate need not occur simultaneously. Arnold Schoenberg, creator of the twelve-tone technique, often combined P-0/I-5 to create "two aggregates, between the first hexachords of each, and the second hexachords of each, respectively. "Combinatoriality is a side effect of derived rows, where the initial segment or set may be combined with its transformations (T,R,I,RI) to create an entire row. | https://en.wikipedia.org/wiki/All-combinatorial_hexachord |
"Derivation refers to a process whereby, for instance, the initial trichord of a row can be used to arrive at a new, 'derived' row by employing the standard twelve-tone operations of transposition, inversion, retrograde, and retrograde-inversion. "Combinatorial properties are not dependent on the order of the notes within a set, but only on the content of the set, and combinatoriality may exist between three tetrachordal and between four trichordal sets, as well as between pairs of hexachords, and six dyads. A complement in this context is half of a combinatorial pitch class set and most generally it is the "other half" of any pair including pitch class sets, textures, or pitch range. | https://en.wikipedia.org/wiki/All-combinatorial_hexachord |
In music using the twelve-tone technique, derivation is the construction of a row through segments. A derived row is a tone row whose entirety of twelve tones is constructed from a segment or portion of the whole, the generator. Anton Webern often used derived rows in his pieces. A partition is a segment created from a set through partitioning. | https://en.wikipedia.org/wiki/Degree_of_symmetry |
In music, "dynamics" normally refers to variations of intensity or volume, as may be measured by physicists and audio engineers in decibels or phons. In music notation, however, dynamics are not treated as absolute values, but as relative ones. Because they are usually measured subjectively, there are factors besides amplitude that affect the performance or perception of intensity, such as timbre, vibrato, and articulation. | https://en.wikipedia.org/wiki/Music_Theory |
The conventional indications of dynamics are abbreviations for Italian words like forte (f) for loud and piano (p) for soft. These two basic notations are modified by indications including mezzo piano (mp) for moderately soft (literally "half soft") and mezzo forte (mf) for moderately loud, sforzando or sforzato (sfz) for a surging or "pushed" attack, or fortepiano (fp) for a loud attack with a sudden decrease to a soft level. The full span of these markings usually range from a nearly inaudible pianissississimo (pppp) to a loud-as-possible fortissississimo (ffff). Greater extremes of pppppp and fffff and nuances such as p+ or più piano are sometimes found. Other systems of indicating volume are also used in both notation and analysis: dB (decibels), numerical scales, colored or different sized notes, words in languages other than Italian, and symbols such as those for progressively increasing volume (crescendo) or decreasing volume (diminuendo or decrescendo), often called "hairpins" when indicated with diverging or converging lines as shown in the graphic above. | https://en.wikipedia.org/wiki/Music_Theory |
In music, "noise" has been variously described as unpitched, indeterminate, uncontrolled, convoluted, unmelodic, loud, otherwise unmusical, or unwanted sound, or simply as sound in general. The exact definition is often a matter of both cultural norms and personal tastes. Noise is an important component of the sound of the human voice and all musical instruments, particularly in unpitched percussion instruments and electric guitars (using distortion). Electronic instruments create various colours of noise. | https://en.wikipedia.org/wiki/Noise_in_music |
Traditional uses of noise are unrestricted, using all the frequencies associated with pitch and timbre, such as the white noise component of a drum roll on a snare drum, or the transients present in the prefix of the sounds of some organ pipes. The influence of modernism in the early 20th century lead composers such as Edgard Varèse to explore the use of noise-based sonorities in an orchestral setting. In the same period the Italian Futurist Luigi Russolo created a "noise orchestra" using instruments he called intonarumori. | https://en.wikipedia.org/wiki/Noise_in_music |
Later in the 20th century the term noise music came to refer to works consisting primarily of noise-based sound. In more general usage, noise is any unwanted sound or signal. In this sense, even sounds that would be perceived as musically ordinary in another context become noise if they interfere with the reception of a message desired by the receiver. Prevention and reduction of unwanted sound, from tape hiss to squeaking bass drum pedals, is important in many musical pursuits, but noise is also used creatively in many ways, and in some way in nearly all genres. | https://en.wikipedia.org/wiki/Noise_in_music |
In music, 15 equal temperament, called 15-TET, 15-EDO, or 15-ET, is a tempered scale derived by dividing the octave into 15 equal steps (equal frequency ratios). Each step represents a frequency ratio of 15√2 (=2(1/15)), or 80 cents (). Because 15 factors into 3 times 5, it can be seen as being made up of three scales of 5 equal divisions of the octave, each of which resembles the Slendro scale in Indonesian gamelan. 15 equal temperament is not a meantone system. | https://en.wikipedia.org/wiki/15_equal_temperament |
In music, 17 tone equal temperament is the tempered scale derived by dividing the octave into 17 equal steps (equal frequency ratios). Each step represents a frequency ratio of 17√2, or 70.6 cents. 17-ET is the tuning of the regular diatonic tuning in which the tempered perfect fifth is equal to 705.88 cents, as shown in Figure 1 (look for the label "17-TET"). | https://en.wikipedia.org/wiki/17_equal_temperament |
In music, 19 Tone Equal Temperament, called 19 TET, 19 EDO ("Equal Division of the Octave"), 19-ED2 ("Equal Division of 2:1) or 19 ET, is the tempered scale derived by dividing the octave into 19 equal steps (equal frequency ratios). Each step represents a frequency ratio of 19√2, or 63.16 cents (). The fact that traditional western music maps unambiguously onto this scale (unless it presupposes 12-EDO enharmonic equivalences) makes it easier to perform such music in this tuning than in many other tunings. 19 EDO is the tuning of the syntonic temperament in which the tempered perfect fifth is equal to 694.737 cents, as shown in Figure 1 (look for the label "19 TET"). On an isomorphic keyboard, the fingering of music composed in 19 EDO is precisely the same as it is in any other syntonic tuning (such as 12 EDO), so long as the notes are "spelled properly" – that is, with no assumption that the sharp below matches the flat immediately above it (enharmonicity). | https://en.wikipedia.org/wiki/19-tone_equal_temperament |
In music, 22 equal temperament, called 22-TET, 22-EDO, or 22-ET, is the tempered scale derived by dividing the octave into 22 equal steps (equal frequency ratios). Each step represents a frequency ratio of 22√2, or 54.55 cents (). When composing with 22-ET, one needs to take into account a variety of considerations. | https://en.wikipedia.org/wiki/22_equal_temperament |
Considering the 5-limit, there is a difference between 3 fifths and the sum of 1 fourth + 1 major third. It means that, starting from C, there are two A's - one 16 steps and one 17 steps away. There is also a difference between a major tone and a minor tone. | https://en.wikipedia.org/wiki/22_equal_temperament |
In C major, the second note (D) will be 4 steps away. However, in A minor, where A is 6 steps below C, the fourth note (D) will be 9 steps above A, so 3 steps above C. So when switching from C major to A minor, one need to slightly change the note D. These discrepancies arise because, unlike 12-ET, 22-ET does not temper out the syntonic comma of 81/80, and in fact exaggerates its size by mapping it to one step. Extending 22-ET to the 7-limit, we find the septimal minor seventh (7/4) can be distinguished from the sum of a fifth (3/2) and a minor third (6/5). | https://en.wikipedia.org/wiki/22_equal_temperament |
Also the septimal subminor third (7/6) is different from the minor third (6/5). This mapping tempers out the septimal comma of 64/63, which allows 22-ET to function as a "Superpythagorean" system where four stacked fifths are equated with the septimal major third (9/7) rather than the usual pental third of 5/4. This system is a "mirror image" of septimal meantone in many ways. | https://en.wikipedia.org/wiki/22_equal_temperament |
Instead of tempering the fifth narrow so that intervals of 5 are simple while intervals of 7 are complex, the fifth is tempered wide so that intervals of 7 are simple while intervals of 5 are complex. The enharmonic structure is also reversed: sharps are sharper than flats, similar to Pythagorean tuning, but to a greater degree. Finally, 22-ET has a good approximation of the 11th harmonic, and is in fact the smallest equal temperament to be consistent in the 11-limit. The net effect is that 22-ET allows (and to some extent even forces) the exploration of new musical territory, while still having excellent approximations of common practice consonances. | https://en.wikipedia.org/wiki/22_equal_temperament |
In music, 23 equal temperament, called 23-TET, 23-EDO ("Equal Division of the Octave"), or 23-ET, is the tempered scale derived by dividing the octave into 23 equal steps (equal frequency ratios). Each step represents a frequency ratio of 23√2, or 52.174 cents. This system is the largest EDO that has an error of at least 20 cents for the 3rd (3:2), 5th (5:4), 7th (7:4), and 11th (11:8) harmonics. The lack of approximation to simple intervals makes the scale notable among those seeking to break free from conventional harmony rules. | https://en.wikipedia.org/wiki/23_equal_temperament |
In music, 31 equal temperament, 31-ET, which can also be abbreviated 31-TET (31 tone ET) or 31-EDO (equal division of the octave), also known as tricesimoprimal, is the tempered scale derived by dividing the octave into 31 equal-sized steps (equal frequency ratios). Each step represents a frequency ratio of 31√2, or 38.71 cents (). 31-ET is a very good approximation of quarter-comma meantone temperament. More generally, it is a regular diatonic tuning in which the tempered perfect fifth is equal to 696.77 cents, as shown in Figure 1. On an isomorphic keyboard, the fingering of music composed in 31-ET is precisely the same as it is in any other syntonic tuning (such as 12-ET), so long as the notes are spelled properly—that is, with no assumption of enharmonicity. | https://en.wikipedia.org/wiki/31_equal_temperament |
In music, 41 equal temperament, abbreviated 41-TET, 41-EDO, or 41-ET, is the tempered scale derived by dividing the octave into 41 equally sized steps (equal frequency ratios). Each step represents a frequency ratio of 21/41, or 29.27 cents (), an interval close in size to the septimal comma. 41-ET can be seen as a tuning of the schismatic, magic and miracle temperaments. It is the second smallest equal temperament, after 29-ET, whose perfect fifth is closer to just intonation than that of 12-ET. In other words, 2 24 / 41 ≈ 1.50042 {\displaystyle 2^{24/41}\approx 1.50042} is a better approximation to the ratio 3 / 2 = 1.5 {\displaystyle 3/2=1.5} than either 2 17 / 29 ≈ 1.50129 {\displaystyle 2^{17/29}\approx 1.50129} or 2 7 / 12 ≈ 1.49831 {\displaystyle 2^{7/12}\approx 1.49831} . | https://en.wikipedia.org/wiki/41_equal_temperament |
In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps (equal frequency ratios). Each step represents a frequency ratio of 21⁄53, or 22.6415 cents (), an interval sometimes called the Holdrian comma. 53-TET is a tuning of equal temperament in which the tempered perfect fifth is 701.89 cents wide, as shown in Figure 1. | https://en.wikipedia.org/wiki/Mercator's_comma |
The 53-TET tuning equates to the unison, or tempers out, the intervals 32805⁄32768, known as the schisma, and 15625⁄15552, known as the kleisma. These are both 5 limit intervals, involving only the primes 2, 3 and 5 in their factorization, and the fact that 53 ET tempers out both characterizes it completely as a 5 limit temperament: it is the only regular temperament tempering out both of these intervals, or commas, a fact which seems to have first been recognized by Japanese music theorist Shohé Tanaka. Because it tempers these out, 53-TET can be used for both schismatic temperament, tempering out the schisma, and Hanson temperament (also called kleismic), tempering out the kleisma. The interval of 7⁄4 is 4.8 cents sharp in 53-TET, and using it for 7-limit harmony means that the septimal kleisma, the interval 225⁄224, is also tempered out. | https://en.wikipedia.org/wiki/Mercator's_comma |
In music, 58 equal temperament (also called 58-ET or 58-EDO) divides the octave into 58 equal parts of approximately 20.69 cents each. It is notable as the simplest equal division of the octave to faithfully represent the 17-limit, and the first that distinguishes between all the elements of the 11-limit tonality diamond. The next-smallest equal temperament to do both these things is 72 equal temperament. | https://en.wikipedia.org/wiki/58_equal_temperament |
Compared to 72-EDO, which is also consistent in the 17-limit, 58-EDO's approximations of most intervals are not quite as good (although still workable). One obvious exception is the perfect fifth (slightly better in 58-EDO), and another is the tridecimal minor third (11:13), which is significantly better in 58-EDO than in 72-EDO. The two systems temper out different commas; 72-EDO tempers out the comma 169:168, thus equating the 14:13 and 13:12 intervals. | https://en.wikipedia.org/wiki/58_equal_temperament |
On the other hand, 58-EDO tempers out 144:143 instead of 169:168, so 14:13 and 13:12 are left distinct, but 13:12 and 12:11 are equated. 58-EDO, unlike 72-EDO, is not a multiple of 12, so the only interval (up to octave equivalency) that it shares with 12-EDO is the 600-cent tritone (which functions as both 17:12 and 24:17). On the other hand, 58-EDO has fewer pitches than 72-EDO and is therefore simpler. | https://en.wikipedia.org/wiki/58_equal_temperament |
In music, 72 equal temperament, called twelfth-tone, 72-TET, 72-EDO, or 72-ET, is the tempered scale derived by dividing the octave into twelfth-tones, or in other words 72 equal steps (equal frequency ratios). Each step represents a frequency ratio of 72√2, or 16+2⁄3 cents, which divides the 100 cent "halftone" into 6 equal parts (100 ÷ 16+2⁄3 = 6) and is thus a "twelfth-tone" (). Since 72 is divisible by 1, 2, 3, 4, 6, 8, 9, 12, 18, 24, 36, and 72, 72-EDO includes all those equal temperaments. | https://en.wikipedia.org/wiki/72_equal_temperament |
Since it contains so many temperaments, 72-EDO contains at the same time tempered semitones, third-tones, quartertones and sixth-tones, which makes it a very versatile temperament. This division of the octave has attracted much attention from tuning theorists, since on the one hand it subdivides the standard 12 equal temperament and on the other hand it accurately represents overtones up to the twelfth partial tone, and hence can be used for 11-limit music. It was theoreticized in the form of twelfth-tones by Alois Hába and Ivan Wyschnegradsky, who considered it as a good approach to the continuum of sound. 72-EDO is also cited among the divisions of the tone by Julián Carrillo, who preferred the sixteenth-tone as an approximation to continuous sound in discontinuous scales. | https://en.wikipedia.org/wiki/72_equal_temperament |
In music, 96 equal temperament, called 96-TET, 96-EDO ("Equal Division of the Octave"), or 96-ET, is the tempered scale derived by dividing the octave into 96 equal steps (equal frequency ratios). Each step represents a frequency ratio of 2 96 {\displaystyle {\sqrt{2}}} , or 12.5 cents. Since 96 factors into 1, 2, 3, 4, 6, 8, 12, 16, 24, 32, 48, and 96, it contains all of those temperaments. Most humans can only hear differences of 6 cents on notes that are played sequentially, and this amount varies according to the pitch, so the use of larger divisions of octave can be considered unnecessary. Smaller differences in pitch may be considered vibrato or stylistic devices. | https://en.wikipedia.org/wiki/96_equal_temperament |
In music, Finnish folk metal band Ensiferum wrote three songs based on/about Väinämöinen, called "Old Man", "Little Dreamer" and "Cold Northland". There is also a direct reference to him in their song "One More Magic Potion", where they have written "Who can shape a kantele from a pike's jaw, like the great One once did?". The band's mascot, who appears on all their albums, also bears a similarity to traditional depictions of Väinämöinen. Another Finnish metal band named Amorphis released their tenth album The Beginning of Times in 2011. | https://en.wikipedia.org/wiki/Väinämöinen |
It is a concept album based on the myths and stories of Väinämöinen. Yet another well-known Finnish metal band, Korpiklaani has released a song about the death of Väinämöinen, Tuonelan Tuvilla, as well as an English version named "At The Huts of the Underworld". A song on the album Archipelago by Scottish electronic jazz collective Hidden Orchestra is also named "Vainamoinen". Philadelphia based Black metal band Nihilistinen Barbaarisuus released a song about Väinämöinen simply called "Väinämöinen" on their second studio album The Child Must Die in 2015. Väinämöinen is also the theme of a composition for choir and harp by Zoltán Kodály, "Wainamoinen makes music", premiered by David Watkins. | https://en.wikipedia.org/wiki/Väinämöinen |
In music, a 1/16, sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation.Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags (see Figure 1). A single sixteenth note is always stemmed with flags, while two or more are usually beamed in groups. A corresponding symbol is the sixteenth rest (or semiquaver rest), which denotes a silence for the same duration. | https://en.wikipedia.org/wiki/16th_note |
As with all notes with stems, sixteenth notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the musical staff (or on the middle line, in vocal music). When they are on the middle line (in instrumental music) or above it, they are drawn with stems on the left of the note head, facing down. Flags are always on the right side of the stem, and curve to the right. | https://en.wikipedia.org/wiki/16th_note |
On stems facing up, the flags start at the top and curve down; for downward facing stems, the flags start at the bottom of the stem and curve up. When multiple sixteenth notes or eighth notes (or thirty-second notes, etc.) are next to each other, the flags may be connected with a beam, like the notes in Figure 2. Note the similarities in notating sixteenth notes and eighth notes. | https://en.wikipedia.org/wiki/16th_note |
Similar rules apply to smaller divisions such as thirty-second notes (demisemiquavers) and sixty-fourth notes (hemidemisemiquavers). In Unicode, U+266C (♬) is a pair of beamed semiquavers. The note derives from the semifusa in mensural notation. However, semifusa also designates the modern sixty-fourth note in Spanish, Catalan and Portuguese. | https://en.wikipedia.org/wiki/16th_note |
In music, a Catalan shawm is one of two varieties of shawm, an oboe-like woodwind musical instrument played in Catalonia in northeastern Spain. | https://en.wikipedia.org/wiki/Catalan_shawm |
In music, a barre chord (also spelled bar chord) is a type of chord on a guitar or other stringed instrument played by using one finger to press down multiple strings across a single fret of the fingerboard (like a bar pressing down the strings). Players often use this chording technique to play a chord that is not restricted by the tones of the guitar's open strings. For instance, if a guitar is tuned to regular concert pitch, with the open strings being E, A, D, G, B, E (from low to high), open chords must be based on one or more of these notes. To play an F♯ chord the guitarist may barre strings so that the chord root is F♯. | https://en.wikipedia.org/wiki/Barre_chord |
Most barre chords are "moveable" chords, as the player can move the whole chord shape up and down the neck. Commonly used in both popular and classical music, barre chords are frequently used in combination with "open" chords, where the guitar's open (unfretted) strings construct the chord. Playing a chord with the barre technique slightly affects tone quality. | https://en.wikipedia.org/wiki/Barre_chord |
A closed, or fretted, note sounds slightly different from an open, unfretted, string. Barre chords are a distinctive part of the sound of pop music and rock music. | https://en.wikipedia.org/wiki/Barre_chord |
Using the barre technique, the guitarist can fret a familiar open chord shape, and then transpose, or raise, the chord a number of half-steps higher, similar to the use of a capo. For example, when the current chord is an E major and the next is an F♯ major, the guitarist barres the open E major up two frets (two semitones) from the open position to produce the barred F♯ major chord. Such chords are hard to play for beginners due to the pressing of multiple strings with a single finger. Mastering the barre can be one of the most difficult challenges that a beginner guitarist faces. | https://en.wikipedia.org/wiki/Barre_chord |
In music, a blind octave is the alternate doubling above and below a successive scale or trill notes: "the passage being played...alternately in the higher and lower octave." According to Grove's Dictionary of Music and Musicians, the device is not to be introduced into the works of "older composers" (presumably those preceding Liszt). Alternately, a blind octave may occur "in a rapid octave passage when one note of each alternate octave is omitted." The effect is to simulate octave doubling using a solo instrument. == References == | https://en.wikipedia.org/wiki/Blind_octave |
In music, a bowhammer is a device used when playing a cymbalum to strike, pull across or pick the strings in order to make them vibrate and emit sound. It was devised to replace the mallets that were traditionally used to play the cymbalum. Unlike mallets, which almost exclusively are used for striking, the bowhammer allows for greater versatility, "expanding the sonic and expressive scope of an ancient instrument. "It consists of a ring, which holds the bowhammer on the finger, a shaped handle attached to the ring, and a 3 inch section of violin bow at the end. | https://en.wikipedia.org/wiki/Bowhammer |
Bowhammers are typically worn in groups of eight, one on each finger except the thumb. The tension on the bow allows the player to stroke the string or strike it. Additionally the string can be plucked it with the end of the bowhammer. | https://en.wikipedia.org/wiki/Bowhammer |
The bowhammer is a recent musical invention created by the musician Michael Masley, who is the premiere user of this tool. The sound generated is significantly different from that generated by the traditional hammering of the cymbalom, that the artist considers the bowhammer cymbalom a specific instrument. The bowhammer may be usable on other string instruments, such as the guitar or hammered dulcimer, but no other uses have surfaced to date. == References == | https://en.wikipedia.org/wiki/Bowhammer |
In music, a cadenza (from Italian: cadenza , meaning cadence; plural, cadenze ) is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing virtuosic display. During this time the accompaniment will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by a fermata in all parts. A cadenza will usually occur over either the final or penultimate note in a piece, the lead-in (German: Eingang), or the final or penultimate note in an important subsection of a piece. It can also be found before a final coda or ritornello. | https://en.wikipedia.org/wiki/Cadenza |
In music, a chop chord is a "clipped backbeat". In 44: 1 2 3 4. It is a muted chord that marks the off-beats or upbeats. | https://en.wikipedia.org/wiki/Chop_chord |
As a rhythm guitar and mandolin technique, it is accomplished through chucking, in which the chord is muted by lifting the fretting fingers immediately after strumming, producing a percussive effect. The chop is analogous to a snare drum beat and keeps the rhythm together and moving. It's one of the innovations bluegrass inventor Bill Monroe pioneered, and it gave the music a harder groove and separated it from old-time and mountain music. | https://en.wikipedia.org/wiki/Chop_chord |
Traditional bluegrass bands typically do not have a drummer, and the timekeeping role is shared between several instruments. The upright bass generally plays the on-beats, while the banjo keeps a steady eighth-note rhythm. The mandolin plays chop chords on the off-beats or upbeats. | https://en.wikipedia.org/wiki/Chop_chord |
(see: boom-chick) By partially relaxing the fingers of the left hand soon after strumming, the strings are allowed to rise off the frets, and their oscillations are damped by the fingers. All strings are stopped (fingered); open strings are not played in chop chords. The offbeat was played on the piano in rhythm and blues "shuffle" style, as heard in songs like Louis Jordan's "It's a Low-Down Dirty Shame" (1942) and Professor Longhair's "Wille Mae" (1949). | https://en.wikipedia.org/wiki/Chop_chord |
This popular, danceable shuffle style was present on many early rock and roll records. It was played on the electric guitar at least as early as 1950 by Robert Kelton on Jimmy McCracklin's "Rockin' All Day." Either played on the guitar, piano or both, the "chop", "chuck" or "skank" offbeat eventually influenced Jamaican rhythm and blues of the 1950s, which morphed into ska in late 1962, then rocksteady and reggae, all of which featured the offbeat "chuck" or "skank" guitar. | https://en.wikipedia.org/wiki/Chop_chord |
In music, a chorale prelude or chorale setting is a short liturgical composition for organ using a chorale tune as its basis. It was a predominant style of the German Baroque era and reached its culmination in the works of J.S. Bach, who wrote 46 (with a 47th unfinished) examples of the form in his Orgelbüchlein, along with multiple other works of the type in other collections. | https://en.wikipedia.org/wiki/Chorale_prelude |
In music, a chord diagram (also called a fretboard diagram or fingering diagram) is a diagram indicating the fingering of a chord on fretted string instruments, showing a schematic view of the fretboard with markings for the frets that should be pressed when playing the chord. Instruments that commonly use this notation include the guitar, banjo, lute, and mandolin. | https://en.wikipedia.org/wiki/Chord_diagram_(music) |
In music, a closely related key (or close key) is one sharing many common tones with an original key, as opposed to a distantly related key (or distant key). In music harmony, there are six of them: four of them share all the pitches with a key with which it is being compared, one of them share all except one, and one shares the same tonic. Such keys are the most commonly used destinations or transpositions in a modulation, because of their strong structural links with the home key. Distant keys may be reached sequentially through closely related keys by chain modulation, for example, C to G to D. For example, "One principle that every composer of Haydn's day kept in mind was over-all unity of tonality. | https://en.wikipedia.org/wiki/Distant_key |
No piece dared wander too far from its tonic key, and no piece in a four-movement form dared to present a tonality not closely related to the key of the whole series." For example, the first movement of Mozart's Piano Sonata No. 7, K. 309, modulates only to closely related keys (the dominant, supertonic, and submediant).Given a major key tonic (I), the related keys are: ii (supertonic, the relative minor of the subdominant) iii (mediant, the relative minor of the dominant) IV (subdominant): one less sharp (or one more flat) around circle of fifths V (dominant): one more sharp (or one fewer flat) around circle of fifths vi (submediant or relative minor): different tonic, same key signature i (parallel minor): same tonic, different key signatureSpecifically: In a minor key, the closely related keys are the parallel major, mediant or relative major, the subdominant, the minor dominant, the submediant, and the subtonic. | https://en.wikipedia.org/wiki/Distant_key |
In the key of A minor, when we translate them to keys, we get: A major (I) C major (III) D minor (iv) E minor (v) F major (VI) G major (VII)Another view of closely related keys is that there are six closely related keys, based on the tonic and the remaining triads of the diatonic scale, excluding the dissonant diminished triads. Four of the five differ by one accidental, one has the same key signature, and one uses the parallel modal form. In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. | https://en.wikipedia.org/wiki/Distant_key |
Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key. In modern music, the closeness of a relation between any two keys or sets of pitches may be determined by the number of tones they share in common, which allows one to consider modulations not occurring in standard major-minor tonality. For example, in music based on the pentatonic scale containing pitches C, D, E, G, and A, modulating a fifth higher gives the collection of pitches G, A, B, D, and E, having four of five tones in common. | https://en.wikipedia.org/wiki/Distant_key |
However, modulating up a tritone would produce F♯, G♯, A♯, C♯, D♯, which shares no common tones with the original scale. Thus the scale a fifth higher is very closely related, while the scale a tritone higher is not. Other modulations may be placed in order from closest to most distant depending upon the number of common tones. | https://en.wikipedia.org/wiki/Distant_key |
Another view in modern music, notably in Bartók, a common tonic produces closely related keys, the other scales being the six other modes. This usage can be found in several of the Mikrokosmos piano pieces. When modulation causes the new key to traverse the bottom of the circle of fifths this may give rise to a theoretical key, containing eight (or more) sharps or flats in its notated key signature; in such a case, notational conventions require recasting the new section in its enharmonically equivalent key. Andranik Tangian suggests 3D and 2D visualizations of key/chord proximity for both all major and all minor keys/chords by locating them along a single subdominant-dominant axis, which wraps a torus that is then unfolded. | https://en.wikipedia.org/wiki/Distant_key |
In music, a cloud is a sound mass consisting of statistical clouds of microsounds and characterized first by the set of elements used in the texture, secondly density, including rhythmic and pitch density. Clouds may include ambiguity of rhythmic foreground and background or rhythmic hierarchy. Examples include: Iannis Xenakis's Concret PH (1958), Bohor I (1962), Persepolis (1971), and many of his pieces for traditional instruments György Ligeti's Clocks and Clouds (1972–3) La Monte Young's The Well Tuned Piano Bernard Parmegiani's De natura sonorum (1975)Clouds are created and used often in granular synthesis. Musical clouds exist on the "meso" or formal time scale. Clouds allow for the interpenetration of sound masses first described by Edgard Varèse including smooth mutation (through crossfade), disintegration, and coalescence.Curtis Roads suggests a taxonomy of cloud morphology based on atmospheric clouds: cumulus, stratocumulus, stratus, nimbostratus, and cirrus; as well as nebulae: dark or glowing, amorphus or ring-shaped, and constantly evolving. | https://en.wikipedia.org/wiki/Cloud_generator |
In music, a common tone is a pitch class that is a member of, or common to (shared by) two or more chords or sets. Typically, it refers to a note shared between two chords in a chord progression. According to H.E. | https://en.wikipedia.org/wiki/Common_tone_(chord) |
Woodruff: Any tone contained in two successive chords is a common tone. Chords written upon two consecutive degrees of the scale can have no tones in common. All other chords have common tones. | https://en.wikipedia.org/wiki/Common_tone_(chord) |
Common tones are also called connecting tones, and in part-writing, are to be retained in the same voice. Chords which are four or five degrees apart have one common tone. Chords which are three or six degrees apart have two common tones. | https://en.wikipedia.org/wiki/Common_tone_(chord) |
Chords which are one or seven degrees apart have no tone in common. (Woodruff 1899, p. 61) The example below shows the seven diatonic triads of C major. The common tones between the tonic triad and the other six triads are highlighted in blue. As Woodruff describes, the tonic triad shares no common tones with either II and VII (consecutive to I), one common tone with IV and V (four and five degrees from I) each, and two common tones with III and VI (three and six degrees from I) each. | https://en.wikipedia.org/wiki/Common_tone_(chord) |
In music, a common tone is a pitch class that is a member of, or common to (shared by) two or more scales or sets. | https://en.wikipedia.org/wiki/Deep_scale_property |
In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term cross rhythm was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece. | https://en.wikipedia.org/wiki/Cross_rhythm |
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