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In music, a cyclic set is a set, "whose alternate elements unfold complementary cycles of a single interval." Those cycles are ascending and descending, being related by inversion since complementary: In the above example, as explained, one interval (7) and its complement (-7 = +5), creates two series of pitches starting from the same note (8): P7: 8 +7= 3 +7= 10 +7= 5...1 +7= 8 I5: 8 +5= 1 +5= 6 +5= 11...3 +5= 8 According to George Perle, "a Klumpenhouwer network is a chord analyzed in terms of its dyadic sums and differences," and, "this kind of analysis of triadic combinations was implicit in," his, "concept of the cyclic set from the beginning". A cognate set is a set created from joining two sets related through inversion such that they share a single series of dyads. | https://en.wikipedia.org/wiki/Cyclic_set |
0 7 2 9 4 11 6 1 8 3 10 5 (0 + 0 5 10 3 8 1 6 11 4 9 2 7 (0 ________________________________________ = 0 0 0 0 0 0 0 0 0 0 0 0 (0 The two cycles may also be aligned as pairs of sum 7 or sum 5 dyads. All together these pairs of cycles form a set complex, "any cyclic set of the set complex may be uniquely identified by its two adjacency sums," and as such the example above shows p0p7 and i5i0. == References == | https://en.wikipedia.org/wiki/Cyclic_set |
In music, a ditone (Latin: ditonus, from Ancient Greek: δίτονος, "of two tones") is the interval of a major third. The size of a ditone varies according to the sizes of the two tones of which it is compounded. The largest is the Pythagorean ditone, with a ratio of 81:64, also called a comma-redundant major third; the smallest is the interval with a ratio of 100:81, also called a comma-deficient major third. | https://en.wikipedia.org/wiki/Ditone |
In music, a double stop is the technique of playing two notes simultaneously on a stringed instrument such as a violin, a viola, a cello, or a double bass. On instruments such as the Hardanger fiddle it is common and often employed. In performing a double stop, two separate strings are bowed or plucked simultaneously. Although the term itself suggests these strings are to be fingered (stopped), in practice one or both strings may be open. | https://en.wikipedia.org/wiki/Double_stop |
A triple stop is the same technique applied to three strings; a quadruple stop applies to four strings. Double, triple, and quadruple stopping are collectively known as multiple stopping. Early extensive examples of the double stop and string chords appear in Carlo Farina's Capriccio Stravagante from 1627, and in certain of the sonatas of Biagio Marini's Op. 8 of 1629. | https://en.wikipedia.org/wiki/Double_stop |
In music, a double whole note (American), breve, or double note lasts two times as long as a whole note (or semibreve). It is the second-longest note value still in use in modern music notation. The longest notated note is the longa, which could be double or triple the length of a breve, although its use is most commonly found in early music. The longest notated note (though now obsolete) is the maxima. | https://en.wikipedia.org/wiki/Double_whole_note |
In music, a drum cadence or street beat is a work played exclusively by the percussion section of a modern marching band (see marching percussion). It is stylistically descended from early military marches, and related to military cadences, as both are a means of providing a beat while marching. Usually, each instrument will have a part that mimics a specific drum or drums on a drum set to create a sound similar to a drum beat. According to Hiro Songsblog a drum cadence is "'a drumline piece played in a parading marching band between or in place of full-band pieces'. | https://en.wikipedia.org/wiki/Drum_cadence |
Cadences are also: 'a chant that is sung by military personnel while parading or marching'. "Cadences employ the four basic drum strokes and often directly include drum rudiments. They have a wide range of difficulty, from simple accent patterns to complex rhythms including hybrid rudiments, and are played by virtually every modern drum line. Cadences are important from a performance standpoint, as a good drum cadence can make the band stand out from the rest in competition. Field shows are often preceded by the band marching to the beat of the cadence.Marching percussion generally consists of at least snare drums, tenor drums, cymbals, and bass drums, and may include timpani. | https://en.wikipedia.org/wiki/Drum_cadence |
In music, a drum stroke is a movement which produces a single or multiple notes on drums or other percussion instruments such as cymbals. There are several types of strokes: five basic single strokes (noted below), double strokes, and other multiple strokes such as triples, quadruples, or buzzes of indeterminate number. | https://en.wikipedia.org/wiki/Drum_stroke |
In music, a dyad (less commonly, diad) is a set of two notes or pitches that, in particular contexts, may imply a chord. Dyads can be classified by the interval between the notes. For example, the interval between C and E is a major third, which can imply a C major chord, made up of the notes C, E and G. When the pitches of a dyad occur in succession, they form a melodic interval. When they occur simultaneously, they form a harmonic interval. The harmonic series is built over a fundamental pitch, and the rest of the partials in the series are called overtones. The second partial is an octave above the fundamental and the third pitch is a fifth, so if C is the fundamental pitch the second note is C an octave higher and then the next pitch would be G. The harmonic series has more fifths than just this one, for example the fourth to the sixth, the sixth to the ninth and the seventh to the eleventh partial are all a fifth away from each other, though the latter is of a slightly different size than the former ones. | https://en.wikipedia.org/wiki/Dyad_(music) |
In music, a factor or chord factor is a member or component of a chord. These are named root, third, fifth, sixth, seventh, ninth (compound 2nd), eleventh (compound 4th), thirteenth (compound 6th), and so on, for their generic interval above the root. In harmony, the consonance and dissonance of a chord factor and a nonchord tone are distinguished, respectively.Chord factors are taken into consideration in voicing and voice leading. A chord contains exactly as many factors as it contains unique pitch names (octaves don't matter), while a voicing can have any number of voices that draw from and represent some or all the factors of a chord in various octaves. | https://en.wikipedia.org/wiki/Factor_(chord) |
Thus, a chord with three unique pitch names always has three factors, even if some of those pitches are doubled or omitted in a particular voicing. For example, the figure to the right shows a four-note voicing of a C Major triad, which has three chord factors. The "root" chord factor (pitch name "C"), is represented twice in the voicing by voices 1 and 4 in different octaves. | https://en.wikipedia.org/wiki/Factor_(chord) |
The chord factor called the "fifth" (pitch name "G") is represented in voice 2 (shown in red). The chord factor that is in the bass determines the inversion of the chord. For example, if the third is in the bass it is a first inversion chord (figured bass: 63) while if the seventh is in the bass the chord is in third inversion (42). | https://en.wikipedia.org/wiki/Factor_(chord) |
The illustration shows one possible four-note voicing of a G7 third-inversion chord (written G7/F in lead-sheet chord-symbol notation), with every chord factor being represented once by a voice in the voicing. In Tertian harmony, chords are made more complex, or "extended", by introducing additional chord factors stacked in thirds. The illustration shows the theoretical construction of a C13 chord having seven chord factors, with the "extended" chord factors shown in red. In real applications, it is common practice to omit the eleventh from voicings of a dominant 13 chord, because though being necessary to theoretically derive the thirteenth by stacking on it, the unaltered perfect eleventh clashes with the major third. | https://en.wikipedia.org/wiki/Factor_(chord) |
In music, a glissando (Italian: ; plural: glissandi, abbreviated gliss.) is a glide from one pitch to another (). It is an Italianized musical term derived from the French glisser, "to glide". In some contexts, it is equivalent to portamento, which is a continuous, seamless glide between notes. | https://en.wikipedia.org/wiki/Note_bending |
In other contexts, it refers to discrete, stepped glides across notes, such as on a piano. Some terms that are similar or equivalent in some contexts are slide, sweep bend, smear, rip (for a loud, violent glissando to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), plop, or falling hail (a glissando on a harp using the back of the fingernails). On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure, except on trombone, where the slide is used. | https://en.wikipedia.org/wiki/Note_bending |
In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning. Most guitars used in popular music have six strings with the "standard" tuning of the Spanish classical guitar, namely E–A–D–G–B–E' (from the lowest pitched string to the highest); in standard tuning, the intervals present among adjacent strings are perfect fourths except for the major third (G,B). | https://en.wikipedia.org/wiki/Guitar_chord |
Standard tuning requires four chord-shapes for the major triads. There are separate chord-forms for chords having their root note on the third, fourth, fifth, and sixth strings. | https://en.wikipedia.org/wiki/Guitar_chord |
For a six-string guitar in standard tuning, it may be necessary to drop or omit one or more tones from the chord; this is typically the root or fifth. The layout of notes on the fretboard in standard tuning often forces guitarists to permute the tonal order of notes in a chord. The playing of conventional chords is simplified by open tunings, which are especially popular in folk, blues guitar and non-Spanish classical guitar (such as English and Russian guitar). | https://en.wikipedia.org/wiki/Guitar_chord |
For example, the typical twelve-bar blues uses only three chords, each of which can be played (in every open tuning) by fretting six strings with one finger. Open tunings are used especially for steel guitar and slide guitar. Open tunings allow one-finger chords to be played with greater consonance than do other tunings, which use equal temperament, at the cost of increasing the dissonance in other chords. | https://en.wikipedia.org/wiki/Guitar_chord |
The playing of (3 to 5 string) guitar chords is simplified by the class of alternative tunings called regular tunings, in which the musical intervals are the same for each pair of consecutive strings. Regular tunings include major-thirds tuning, all-fourths, and all-fifths tunings. For each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners' learning of chords and that simplifies advanced players' improvisation. | https://en.wikipedia.org/wiki/Guitar_chord |
On the other hand, in regular tunings 6-string chords (in the keys of C, G, and D) are more difficult to play. Conventionally, guitarists double notes in a chord to increase its volume, an important technique for players without amplification; doubling notes and changing the order of notes also changes the timbre of chords. It can make possible a "chord" which is composed of the all same note on different strings. Many chords can be played with the same notes in more than one place on the fretboard. | https://en.wikipedia.org/wiki/Guitar_chord |
In music, a linear progression (Auskomponierungszug or Zug, abbreviated: Zg.) is a passing note elaboration involving stepwise melodic motion in one direction between two harmonic tones. "The compositional unfolding of a specific interval, one of the intervals of the chord of nature." For example: -- over the tonic. | https://en.wikipedia.org/wiki/Linear_progression |
According to Schenker: "A linear progression always presupposes a passing note; there can be no linear progression without a passing note, no passing note without a linear progression." In German Zug may be combined with prefixes to create related words such as Untergreifzug, a linear progression rising from a lower voice, Uebergreifzug ("reaching over"), a linear progression overlapping another, or Terzzug, linear progression through a third. The term Zug may best be translated as "a direct, unimpeded motion from one place to another. | https://en.wikipedia.org/wiki/Linear_progression |
"Linear progressions prolong harmonies through elaboration, or filling-in with dissonant notes, of a leap between two consonant notes from different voices in a chord. In English they may be abbreviated "prg." | https://en.wikipedia.org/wiki/Linear_progression |
such as 3-prg. for 'third progression' (rather than "Zg."). Note that in the Mozart example above the passing tones are dissonant and unable to be embellished; however, in the Urlinie example to the right the passing tone is supported harmonically, allowing for embellishment. Also note the Schenkerian notation indicating relative hierarchical depth, surface or structural importance, where structural notes are indicated through stems and beams and surface notes are indicated through note heads only which are then slurred to stemmed and beamed notes. Thus in the bottom right example the third progression from D is a decoration of the deeper third progression from E. | https://en.wikipedia.org/wiki/Linear_progression |
In music, a loop is a repeating section of sound material. Short sections can be repeated to create ostinato patterns. Longer sections can also be repeated: for example, a player might loop what they play on an entire verse of a song in order to then play along with it, accompanying themselves. | https://en.wikipedia.org/wiki/Drum_loop |
Loops can be created using a wide range of music technologies including turntables, digital samplers, looper pedals, synthesizers, sequencers, drum machines, tape machines, and delay units, and they can be programmed using computer music software. The feature to loop a section of an audio track or video footage is also referred to by electronics vendors as A–B repeat.Royalty-free loops can be purchased and downloaded for music creation from companies like The Loop Loft, Native Instruments, Splice and Output. Loops are supplied in either MIDI or Audio file formats such as WAV, REX2, AIFF and MP3. Musicians play loops by triggering the start of the musical sequence by using a MIDI controller such as an Ableton Push or a Native Instruments MASCHINE. | https://en.wikipedia.org/wiki/Drum_loop |
In music, a major limma is an interval with the ratio of 135:128, which is the difference between two major tones (a ditone) and a minor third. It is equal to about 92.18 cents. Composer Ben Johnston uses a "−" with a "♭" as an accidental to indicate a note is lowered 92 cents, or a "+" with a "♯" to indicate a note is raised 92 cents, the value of the syntonic comma and the just chromatic semitone. == References == | https://en.wikipedia.org/wiki/Major_limma |
In music, a major seventh chord is a seventh chord in which the third is a major third above the root and the seventh is a major seventh above the root. The major seventh chord, sometimes also called a Delta chord, can be written as maj7, M7, Δ, ⑦, etc. The "7" does not have to be superscripted, but if it is, then any alterations, added tones, or omissions are usually also superscripted. For example, the major seventh chord built on C, commonly written as Cmaj7, has pitches C–E–G–B: It can be represented by the integer notation {0, 4, 7, 11}. | https://en.wikipedia.org/wiki/Major_seventh_chord |
According to Forte, the major seventh chord is exemplified by IV7, which originates melodically. The just major seventh chord is tuned in the ratios 8:10:12:15, as a just major chord is tuned 4:5:6 and a just major seventh is tuned 15:8. The minor-minor sixth chord (minor triad with an added minor sixth) is an inversion of this chord. | https://en.wikipedia.org/wiki/Major_seventh_chord |
In music, a melody of four pitches where a straight line drawn between the outer pair bisects a straight line drawn between the inner pair, thus forming a cross. In its simplest form, the cruciform melody is a changing tone, where the melody ascends or descends by step, skips below or above the first pitch, then returns to the first pitch by step. Often representative of the Christian cross, such melodies are cruciform in their retrogrades or inversions. | https://en.wikipedia.org/wiki/Cruciform_plan |
Johann Sebastian Bach, whose last name may be represented in tones through a musical cryptogram known as the BACH motif that is a cruciform melody, employed the device extensively. The subject of the fugue in c-sharp minor from The Well-Tempered Clavier Book I is cruciform. See also: Cross motif. | https://en.wikipedia.org/wiki/Cruciform_plan |
In music, a minor seventh chord is a seventh chord composed of a root note, together with a minor third, a perfect fifth, and a minor seventh (1, ♭3, 5, ♭7). For example, the minor seventh chord built on A, commonly written as A–7, has pitches A-C-E-G: | https://en.wikipedia.org/wiki/Minor_seventh_chord |
In music, a monad is a single note or pitch. The Western chromatic scale, for example, is composed of twelve monads. Monads are contrasted to dyads, groups of two notes, triads, groups of three, and so on. == References == | https://en.wikipedia.org/wiki/Monad_(music) |
In music, a motif IPA: (/moʊˈtiːf/) (also motive) is a short musical idea, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition. The motif is the smallest structural unit possessing thematic identity. | https://en.wikipedia.org/wiki/Motif_(music) |
In music, a ninth is a compound interval consisting of an octave plus a second. Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its sonority level is considered less dense. | https://en.wikipedia.org/wiki/Second_chord |
In music, a note is the representation of a musical sound. Notes can represent the pitch and duration of a sound in musical notation. A note can also represent a pitch class. Notes are the building blocks of much written music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis.The term note can be used in both generic and specific senses: one might say either "the piece 'Happy Birthday to You' begins with two notes having the same pitch", or "the piece begins with two repetitions of the same note". | https://en.wikipedia.org/wiki/Musical_notes |
In the former case, one uses note to refer to a specific musical event; in the latter, one uses the term to refer to a class of events sharing the same pitch. (See also: Key signature names and translations.) | https://en.wikipedia.org/wiki/Musical_notes |
Two notes with fundamental frequencies in a ratio equal to any integer power of two (e.g., half, twice, or four times) are perceived as very similar. Because of that, all notes with these kinds of relations can be grouped under the same pitch class. In European music theory, most countries use the solfège naming convention do–re–mi–fa–sol–la–si, including for instance Albania, Belgium, Bulgaria, France, Greece, Italy, Lithuania, Portugal, Romania, Russia, Spain, Turkey, Ukraine, most Latin American countries, Arabic-speaking and Persian-speaking countries. | https://en.wikipedia.org/wiki/Musical_notes |
However, in English- and some Dutch-speaking regions, pitch classes are typically represented by the first seven letters of the Latin alphabet (A, B, C, D, E, F and G). Several European countries, including Germany, use H instead of B (see below for details). Byzantium used the names Pa–Vu–Ga–Di–Ke–Zo–Ni (Πα–Βου–Γα–Δι–Κε–Ζω–Νη).In traditional Indian music, musical notes are called svaras and commonly represented using the seven notes, Sa, Re, Ga, Ma, Pa, Dha and Ni. | https://en.wikipedia.org/wiki/Musical_notes |
The eighth note, or octave, is given the same name as the first, but has double its frequency (first harmonic). The name octave is also used to indicate the span between a note and another with double frequency. To differentiate two notes that have the same pitch class but fall into different octaves, the system of scientific pitch notation combines a letter name with an Arabic numeral designating a specific octave. For example, the now-standard tuning pitch for most Western music, 440 Hz, is named a′ or A4. There are two formal systems to define each note and octave, the Helmholtz pitch notation and the scientific pitch notation. | https://en.wikipedia.org/wiki/Musical_notes |
In music, a passing chord is a chord that connects, or passes between, the notes of two diatonic chords. "Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord. A diatonic passing chord may be inserted into a pre-existing progression that moves by a major or minor third in order to create more movement." "'Inbetween chords' that help you get from one chord to another are called passing chords. | https://en.wikipedia.org/wiki/Passing_chord |
"For example, in the simple chord progression in the key of C Major, which goes from I7/iii7/ii7/V7: |Cmaj7 |Em7 |Dm7 |G7 | the diatonic (this means "from the scale of the tonic") passing chord (Dm7) may be inserted: |Cmaj7 Dm7 |Em7 |Dm7 |G7 | or the chromatic passing chord (Ebm7) may be inserted: |Cmaj7 |Em7 Ebm7 |Dm7 |G7 | or one or more secondary dominants may be inserted: |Cmaj7 B7 |Em7 A7 |Dm7 |G7 | (in this example, the B7 is the secondary dominant of Em7 and the A7 is the secondary dominant of Dm7) A chromatic passing chord is, "a chord that is not in the harmonized scale" For example, one or more diminished seventh chords may be inserted: |Cmaj7 D# dim7' |Em7 C# dim7 |Dm7 |G7 | (in this example, the D# dim7 is the viio7 of Em7 and the C# dim7 is the viio7 of Dm7) Passing chords may be consonant or dissonant and may include flat fifth substitution, scalewise substitution, dominant minor substitution, approach chords, and bass-line-directed substitution. Passing chords may be written into a lead sheet by a composer, songwriter, or arranger. As well, particularly in smaller ensembles, such as the organ trio or jazz quartet, the comping (chord-playing) rhythm section instrumentalists (e.g., jazz guitar, jazz piano, Hammond organ) may improvise passing chords. | https://en.wikipedia.org/wiki/Passing_chord |
With large ensembles, such as a big band, the comping players may have less freedom to improvise passing chords, because the composer/arranger may have already written in passing chords into the written horn parts, which might clash with improvised passing chords played by a comping musician. The freedom of comping musicians to improvise passing chords also depends on the tempo. In a very slow ballad, if a chord-playing musician adds in an improvised diminished chord for a half a bar, this may "clash" with the melody notes or chords played by other performers. On the other hand, in an extremely up-tempo (fast) bebop tune, a comping musician could add improvised passing chords with more freedom, because each bar goes by so fast. | https://en.wikipedia.org/wiki/Passing_chord |
In music, a pedal point (also pedal note, organ point, pedal tone, or pedal) is a sustained tone, typically in the bass, during which at least one foreign (i.e. dissonant) harmony is sounded in the other parts. A pedal point sometimes functions as a "non-chord tone", placing it in the categories alongside suspensions, retardations, and passing tones. However, the pedal point is unique among non-chord tones, "in that it begins on a consonance, sustains (or repeats) through another chord as a dissonance until the harmony", not the non-chord tone, "resolves back to a consonance". Pedal points "have a strong tonal effect, 'pulling' the harmony back to its root". | https://en.wikipedia.org/wiki/Pedal_point |
Pedal points can also build drama or intensity and expectation. When a pedal point occurs in a voice other than the bass, it is usually referred to as an inverted pedal point (see inversion). Pedal points are usually on either the tonic or the dominant (fifth note of the scale) tones. | https://en.wikipedia.org/wiki/Pedal_point |
The pedal tone is considered a chord tone in the original harmony, then a nonchord tone during the intervening dissonant harmonies, and then a chord tone again when the harmony resolves. A dissonant pedal point may go against all harmonies present during its duration, being almost more like an added tone than a nonchord tone, or pedal points may serve as atonal pitch centers. The term comes from the organ for its ability to sustain a note indefinitely and the tendency for such notes to be played on an organ's pedal keyboard. The pedal keyboard on an organ is played by the feet; as such, the organist can hold down a pedal point for lengthy periods while both hands perform higher-register music on the manual keyboards. | https://en.wikipedia.org/wiki/Pedal_point |
In music, a pensato (Italian: "thought") is a composed imaginary note, a written note which is neither played nor heard. "This meant that a note had to be so indescribably tender and soft that it was only allowed to be thought of." (Score 1958) Anton Webern is credited by some with the first use of pensatos, while others argue he did not use them at all. As Alex Ross (2007: 69, quoted in Toop 2016: 158) puts it: "The Joke went around that Webern had introduced the marking pensato: Don't play the note, only think it." | https://en.wikipedia.org/wiki/Pensato |
George Perle (1990:), noting that "no composer has ever been more concrete, explicit, detailed, and subtle in his notation," argues that if Webern did use a pensato, it would have been a pitch "with all the attributes that give a note actuality: pitch, duration, mode of attack and release, timbre, intensity," and not a pitch class. He also points to a "verifiable pensato" in the last bar of Alban Berg's Lyric Suite: "The instruments drop out one by one, the four parts converging into a single line that continues into an ostinato on the last two notes of the derived series and becomes inaudible on the penultimate note of the series, seemingly continuing into the silence beyond." (Perle, 1985: 14) The last measure of the score is marked "dimin. | https://en.wikipedia.org/wiki/Pensato |
", then "morendo...*", then the asterisk reads: "*)bis zum völligen Verlöschen, daher die letzte Terz Des—F eventuell noch ein-, zweimal wiederholen. Keinesfalls aber auf Des schließen!" | https://en.wikipedia.org/wiki/Pensato |
("until completely extinguished, repeat the last third of Des — F once or twice. In no case, however, conclude to Des!") Presumably an expression of unrequited love (Santos 2014: 35). | https://en.wikipedia.org/wiki/Pensato |
In music, a permutation (order) of a set is any ordering of the elements of that set. A specific arrangement of a set of discrete entities, or parameters, such as pitch, dynamics, or timbre. Different permutations may be related by transformation, through the application of zero or more operations, such as transposition, inversion, retrogradation, circular permutation (also called rotation), or multiplicative operations (such as the cycle of fourths and cycle of fifths transforms). These may produce reorderings of the members of the set, or may simply map the set onto itself. | https://en.wikipedia.org/wiki/Permutation_(music) |
Order is particularly important in the theories of composition techniques originating in the 20th century such as the twelve-tone technique and serialism. Analytical techniques such as set theory take care to distinguish between ordered and unordered collections. In traditional theory concepts like voicing and form include ordering; for example, many musical forms, such as rondo, are defined by the order of their sections. | https://en.wikipedia.org/wiki/Permutation_(music) |
The permutations resulting from applying the inversion or retrograde operations are categorized as the prime form's inversions and retrogrades, respectively. Applying both inversion and retrograde to a prime form produces its retrograde-inversions, considered a distinct type of permutation. Permutation may be applied to smaller sets as well. | https://en.wikipedia.org/wiki/Permutation_(music) |
However, transformation operations of such smaller sets do not necessarily result in permutation the original set. Here is an example of non-permutation of trichords, using retrogradation, inversion, and retrograde-inversion, combined in each case with transposition, as found within in the tone row (or twelve-tone series) from Anton Webern's Concerto: If the first three notes are regarded as the "original" cell, then the next 3 are its transposed retrograde-inversion (backwards and upside down), the next three are the transposed retrograde (backwards), and the last 3 are its transposed inversion (upside down).Not all prime series have the same number of variations because the transposed and inverse transformations of a tone row may be identical, a quite rare phenomenon: less than 0.06% of all series admit 24 forms instead of 48.One technique facilitating twelve-tone permutation is the use of number values corresponding with musical letters. The first note of the first of the primes, actually prime zero (commonly mistaken for prime one), is represented by 0. | https://en.wikipedia.org/wiki/Permutation_(music) |
The rest of the numbers are counted half-step-wise such that: B = 0, C = 1, C♯/D♭ = 2, D = 3, D♯/E♭ = 4, E = 5, F = 6, F♯/G♭ = 7, G = 8, G♯/A♭ = 9, A = 10, and A♯/B♭ = 11. Prime zero is retrieved entirely by choice of the composer. To receive the retrograde of any given prime, the numbers are simply rewritten backwards. | https://en.wikipedia.org/wiki/Permutation_(music) |
To receive the inversion of any prime, each number value is subtracted from 12 and the resulting number placed in the corresponding matrix cell (see twelve-tone technique). The retrograde inversion is the values of the inversion numbers read backwards. Therefore: A given prime zero (derived from the notes of Anton Webern's Concerto): 0, 11, 3, 4, 8, 7, 9, 5, 6, 1, 2, 10 The retrograde: 10, 2, 1, 6, 5, 9, 7, 8, 4, 3, 11, 0 The inversion: 0, 1, 9, 8, 4, 5, 3, 7, 6, 11, 10, 2 The retrograde inversion: 2, 10, 11, 6, 7, 3, 5, 4, 8, 9, 1, 0 More generally, a musical permutation is any reordering of the prime form of an ordered set of pitch classes or, with respect to twelve-tone rows, any ordering at all of the set consisting of the integers modulo 12. | https://en.wikipedia.org/wiki/Permutation_(music) |
In that regard, a musical permutation is a combinatorial permutation from mathematics as it applies to music. Permutations are in no way limited to the twelve-tone serial and atonal musics, but are just as well utilized in tonal melodies especially during the 20th and 21st centuries, notably in Rachmaninoff's Variations on the Theme of Paganini for orchestra and piano.Cyclical permutation (also called rotation) is the maintenance of the original order of the tone row with the only change being the initial pitch class, with the original order following after. A secondary set may be considered a cyclical permutation beginning on the sixth member of a hexachordally combinatorial row. The tone row from Berg's Lyric Suite, for example, is realized thematically and then cyclically permuted (0 is bolded for reference): 5 4 0 9 7 2 8 1 3 6 t e 3 6 t e 5 4 0 9 7 2 8 1 | https://en.wikipedia.org/wiki/Permutation_(music) |
In music, a pitch class (p.c. or pc) is a set of all pitches that are a whole number of octaves apart; for example, the pitch class C consists of the Cs in all octaves. "The pitch class C stands for all possible Cs, in whatever octave position." Important to musical set theory, a pitch class is "all pitches related to each other by octave, enharmonic equivalence, or both." | https://en.wikipedia.org/wiki/Pitch_class |
Thus, using scientific pitch notation, the pitch class "C" is the set {Cn: n is an integer} = {..., C−2, C−1, C0, C1, C2, C3 ...}.Although there is no formal upper or lower limit to this sequence, only a few of these pitches are audible to humans. Pitch class is important because human pitch-perception is periodic: pitches belonging to the same pitch class are perceived as having a similar quality or color, a property called "octave equivalence". Psychologists refer to the quality of a pitch as its "chroma". | https://en.wikipedia.org/wiki/Pitch_class |
A chroma is an attribute of pitches (as opposed to tone height), just like hue is an attribute of color. A pitch class is a set of all pitches that share the same chroma, just like "the set of all white things" is the collection of all white objects.In standard Western equal temperament, distinct spellings can refer to the same sounding object: B♯3, C4, and D4 all refer to the same pitch, hence share the same chroma, and therefore belong to the same pitch class. This phenomenon is called enharmonic equivalence. | https://en.wikipedia.org/wiki/Pitch_class |
In music, a popular retelling of the biblical Lazarus story from the point of view of Lazarus in heaven is the 1984 gospel story-song "Lazarus Come Forth" by Contemporary Christian Music artist Carman. A modern reinterpretation of the story is the title track to the album Dig, Lazarus, Dig!!! by the Australian alternative band Nick Cave and the Bad Seeds. Several other bands have composed songs titled "Lazarus" in allusion to the resurrection story, including Porcupine Tree, Conor Oberst, Circa Survive, Chimaira, moe., Wes King, Placebo, and David Bowie (written while he was terminally ill). In the song Lazarus by the famous christian rapper Trip Lee, he depicts the spiritual death and the new birth, through the story of Lazarus. | https://en.wikipedia.org/wiki/Lazarus'_cross |
In music, a primary triad is one of the three triads, or three-note chords built from major or minor thirds, most important in tonal and diatonic music, as opposed to an auxiliary triad or secondary triad. Each triad found in a diatonic key corresponds to a particular diatonic function. Functional harmony tends to rely heavily on the primary triads: triads built on the tonic, subdominant, and dominant degrees. The roots of these triads begin on the first, fourth, and fifth degrees (respectively) of the diatonic scale, otherwise symbolized: I, IV, and V (again, respectively). | https://en.wikipedia.org/wiki/Primary_triad |
Primary triads, "express function clearly and unambiguously." The other triads of the diatonic key include the supertonic, mediant, sub-mediant, and leading-tone, whose roots begin on the second, third, sixth, and seventh degrees (respectively) of the diatonic scale, otherwise symbolized: ii, iii, vi, and viio (again, respectively). They function as auxiliary or supportive triads to the primary triads. | https://en.wikipedia.org/wiki/Primary_triad |
In C major these are: I C V G IV F vi Am iii Em ii Dm viio BdimIn a minor key triads i and iv are minor chords, but in chord V the leading note is generally raised to form a major chord. For example, in A minor the primary triads are Am, Dm and E. Chord v (minor) in a minor key might be expected to be a primary triad, but its use is rare in common practice harmony. Auxiliary chords may be considered parallel and contrast chords derived from the primary triads. | https://en.wikipedia.org/wiki/Primary_triad |
For example, the supertonic, ii, is the subdominant parallel, relative of IV (in C: a d minor chord is the subdominant parallel, the subdominant is an F major chord). Being a parallel chord in a major key it is derived through raising the fifth a major second (C of F–A–C rises to D → F–A–D, an inversion of D–F–A). Alternatively, secondary triads may be considered ii, iii, and vi. In C major these are: ii Dm iii Em vi AmIn A minor these are: iio Bdim III C VI F | https://en.wikipedia.org/wiki/Primary_triad |
In music, a projected set is a technique where a collection of pitches or pitch classes is extended in a texture through the emphasized simultaneous statement of a set followed or preceded by a successive emphasized statement of each of its members. For example, a set may be stated as a simultaneity and then a series of phrases may end on notes which are the members of the set, as in the downbeat of m. 19 through measures 46 of Béla Bartók's Second String Quartet. | https://en.wikipedia.org/wiki/Projected_set |
(Wilson 1992, p. 23) Pattern completion is "the use of a projected set to organize a work over a long span of time" (ibid, p. 210n5). | https://en.wikipedia.org/wiki/Projected_set |
In music, a reduction is an arrangement or transcription of an existing score or composition in which complexity is lessened to make analysis, performance, or practice easier or clearer; the number of parts may be reduced or rhythm may be simplified, such as through the use of block chords. | https://en.wikipedia.org/wiki/Piano_Reduction |
In music, a refrain has two parts: the lyrics of the song, and the melody. Sometimes refrains vary their words slightly when repeated; recognizability is given to the refrain by the fact that it is always sung to the same tune, and the rhymes, if present, are preserved despite the variations of the words. Such a refrain is featured in "The Star-Spangled Banner", which contains a refrain which is introduced by a different phrase in each verse, but which always ends: O'er the land of the free, and the home of the brave.A similar refrain is found in the "Battle Hymn of the Republic", which affirms in successive verses that "Our God", or "His Truth", is "marching on." Refrains usually, but not always, come at the end of the verse. | https://en.wikipedia.org/wiki/Refrain |
Some songs, especially ballads, incorporate refrains (or burdens) into each verse. For example, one version of the traditional ballad "The Cruel Sister" includes a refrain mid-verse: There lived a lady by the North Sea shore, Lay the bent to the bonny broom Two daughters were the babes she bore. Fa la la la la la la la la.As one grew bright as is the sun, Lay the bent to the bonny broom So coal black grew the other one. | https://en.wikipedia.org/wiki/Refrain |
Fa la la la la la la la.. . . (Note: the refrain of 'Lay the Bent to the Bonny Broom' is not traditionally associated with the ballad of "The Cruel Sister" (Child #10). | https://en.wikipedia.org/wiki/Refrain |
This was the work of 'pop-folk' group Pentangle on their 1970 LP Cruel Sister which has subsequently been picked up by many folk singers as being traditional. Both the melody and the refrain come from the ballad known as "Riddles Wisely Expounded" (Child #1).) Here, the refrain is syntactically independent of the narrative poem in the song, and has no obvious relationship to its subject, and indeed little inherent meaning at all. | https://en.wikipedia.org/wiki/Refrain |
The device can also convey material which relates to the subject of the poem. Such a refrain is found in Dante Gabriel Rossetti's "Troy Town": Heavenborn Helen, Sparta's queen, O Troy Town! Had two breasts of heavenly sheen, The sun and moon of the heart's desire: All Love's lordship lay between, A sheen on the breasts I Love. | https://en.wikipedia.org/wiki/Refrain |
O Troy's down, Tall Troy's on fire!. . | https://en.wikipedia.org/wiki/Refrain |
.Phrases of apparent nonsense in refrains (Lay the bent to the bonny broom? ), and syllables such as fa la la, familiar from the Christmas carol "Deck the Halls with Boughs of Holly", have given rise to much speculation. Some believe that the traditional refrain Hob a derry down O encountered in some English folksongs is in fact an ancient Celtic phrase meaning "dance around the oak tree." These suggestions remain controversial. | https://en.wikipedia.org/wiki/Refrain |
In music, a repeat sign is a sign that indicates a section should be repeated. If the piece has one repeat sign alone, then that means to repeat from the beginning, and then continue on (or stop, if the sign appears at the end of the piece). A corresponding sign facing the other way indicates where the repeat is to begin. These are similar to the instructions da capo and dal segno. | https://en.wikipedia.org/wiki/Repeat_sign |
Repeat. Wiederholungszeichen (Ger.) A sign that a movement or part of a movement is to be twice performed. That which is to be repeated is generally included within the sign of two or four dots in the spaces...When the performer does not, on repeating, go so far as the last dot-sign, but finishes at a previous cadence, it is usual to write over the repeat, Da Capo, placing a pause and fine over the chord at which the performer is to stop. If the signs of the repeat do not coincide with a well-defined portion of a movement the sign 𝄋 is sometimes added. | https://en.wikipedia.org/wiki/Repeat_sign |
In music, a reprise ( rə-PREEZ, French: ; from the verb reprendre 'to resume') is the repetition or reiteration of the opening material later in a composition as occurs in the recapitulation of sonata form, though—originally in the 18th century—was simply any repeated section, such as is indicated by beginning and ending repeat signs.A partial or abbreviated reprise is known as a petite reprise ( pə-TEET rə-PREEZ, French: ). In Baroque music this usually occurs at the very end of a piece, repeating the final phrase with added ornamentation. | https://en.wikipedia.org/wiki/Reprise |
In music, a rewrite rule is a recursive generative grammar, which creates a chord progression from another. Steedman (1984) has proposed a set of recursive "rewrite rules" which generate all well-formed transformations of jazz, basic I–IV–I–V–I twelve-bar blues chord sequences, and, slightly modified, non-twelve-bar blues I–IV–V sequences ("rhythm changes"). The typical 12-bar blues progression can be notated 1 2 3 4 5 6 7 8 9 10 11 12 I / I / I / I // IV /IV / I / I // V / IV / I / I where the top line numbers each bar, one slash indicates a bar line, two indicate both a bar line and a phrase ending and a Roman numeral indicates the chord function. Important transformations include replacement or substitution of a chord by its dominant or subdominant: 1 2 3 4 5 6 7 8 9 10 11 12 I / IV / I / I7 // IV / VII7 / III7 / VI7 // II7 / V7 / I / I // use of chromatic passing chords: ...7 8 9 ... ...III7 / ♭III7 / II7... and chord alterations such as minor chords, diminished sevenths, etc.Sequences by fourth, rather than fifth, include Jimi Hendrix's version of "Hey Joe" and Deep Purple's "Hush": 1 2 3 4 5 6 7 8 9 10 11 12 ♭VI, ♭III / ♭VII, IV / I / I // ♭VI, ♭III / ♭VII, IV / I / I // ♭VI, ♭III / ♭VII, IV / I / I // These often result in Aeolian harmony and lack perfect cadences (V–I). | https://en.wikipedia.org/wiki/Chord_rewrite_rules |
Middleton (1990) suggests that both modal and fourth-oriented structures, rather than being, "distortions or surface transformations of Schenker's favoured V-I kernel, are more likely branches of a deeper principle, that of tonic/not-tonic differentiation." For the ♭ notation, see Borrowed chord. == References == | https://en.wikipedia.org/wiki/Chord_rewrite_rules |
In music, a secor is the interval of 116.7 cents ((18/5)(1/19)) named after George Secor. Secor devised it to allow a close approximation, generated from a single interval, to Harry Partch's 43 tone just intonation scale. All 11-limit consonances are approximated to within 3.32 cents.It is approximated in 31 , 41 , and 72 equal temperament . | https://en.wikipedia.org/wiki/Miracle_temperament |
For tuning purposes, a secor of seven steps of 72 equal temperament is often used. Two secors (233.4 cents ) approximate an 8:7 interval (231.17 cents), a septimal whole tone. Three of these 8:7 intervals (693.51 cents), or six secors (700.2 cents ), approximate a fifth (701.96 cents). A neutral third of 11:9 (347.41 cents) is approximated by three secors (350.1 cents ). | https://en.wikipedia.org/wiki/Miracle_temperament |
In music, a septimal chromatic semitone or minor semitone is the interval 21:20 (). It is about 84.47 cents. The septimal chromatic semitone may be derived from the harmonic series as the interval between the twentieth and twenty-first harmonics. | https://en.wikipedia.org/wiki/Septimal_chromatic_semitone |
The septimal chromatic semitone equals a just chromatic semitone (25:24) plus a septimal semicomma (126:125). When added to the 15:14 semitone, the 21:20 semitone and 28:27 semitone produce the 9:8 tone (major tone) and 10:9 tone (minor tone), respectively. == References == | https://en.wikipedia.org/wiki/Septimal_chromatic_semitone |
In music, a septimal diatonic semitone (or major diatonic semitone) is the interval 15:14 . It is about 119.44 cents. The septimal diatonic semitone may be derived from the harmonic series as the interval between the fourteenth and fifteenth harmonics (B7b and B). The septimal diatonic semitone equals a just diatonic semitone (16:15, or 111.73 cents) plus a septimal kleisma (the interval 225:224, or 7.71 cents). | https://en.wikipedia.org/wiki/Septimal_diatonic_semitone |
In music, a similarity relation or pitch-class similarity is a comparison between sets of the same cardinality (two sets containing the same number of pitch classes), based upon shared pitch class and/or interval class content. Allen Forte originally designated four types: Rp (maximal similarity with respect to pitch class), R0 (minimal similarity), R1 (first order maximal similarity), and R2 (second order maximal similarity). In Rp one pitch class is different, in R0 all are different, and in R1 and R2 four interval classes are the same. | https://en.wikipedia.org/wiki/Similarity_relation_(music) |
Rp is defined for sets S1 and S2 of cardinal number n and S3 of cardinal number n-1 as: Rp(S1,S2) iff (S3 ⊂ S1, S3 ⊂ S2)Meaning that S1 and S2 each have all the pitch-classes of S3 (transposed or inverted), plus one. he pc similarity relation Rp is not especially significant when taken alone, since by that measure a given set may be similar to many others. When Rp is combined with the similarity measures, however, a considerable reduction is effected. | https://en.wikipedia.org/wiki/Similarity_relation_(music) |
In music, a simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. This first appeared in the music of Charles Ives, and is common in the music of Conlon Nancarrow and others. | https://en.wikipedia.org/wiki/Simultaneity_succession |
In music, a single is a type of release, typically a song recording of fewer tracks than an LP record or an album. One can be released for sale to the public in a variety of formats. In most cases, a single is a song that is released separately from an album, although it usually also appears on an album. In other cases a recording released as a single may not appear on an album. | https://en.wikipedia.org/wiki/45_rpm_record |
With the rise of digital distribution, distinctions have become more tenuous. The biggest digital music distributor, the iTunes Store, only accepts releases with three tracks or fewer that are less than ten minutes each as a singles (with longer releases being classified as EPs or albums). However, releases which don't fit these criteria have been promoted as singles by artists and labels elsewhere, such as on the Bandcamp storefront. Historically, when mainstream music was purchased via vinyl records, singles would be released double-sided, i.e. there was an A-side and a B-side, on which two songs would appear, one on each side. | https://en.wikipedia.org/wiki/45_rpm_record |
In music, a stab is a single staccato note or chord that adds dramatic punctuation to a composition. Stabs are usually provided by horns (real or synthesized), thus the term horn stab, or an orchestral sample and usually occur on a 1-beat. Stabs are used in a wide variety of music genres including jazz, rock, classical, funk, freestyle, trap, EDM, metal and ska. | https://en.wikipedia.org/wiki/Horn_stab |
There is no standardized notation symbol to specifically indicate a stab. They are most commonly notated as a short note value with a staccato dot, sometimes with the verbal marking "stab". There's a rule of thumb in funk music that says short sounds are better than long: thus the drier the guitar hit, the tighter the horn stab, the slappier the bass, the more clipped the clavinet etc, the better. | https://en.wikipedia.org/wiki/Horn_stab |
It's the bits of silence in-between these short events that builds anticipation for the next one - the tension/release principle in rhythmic form. Stabs are also used in electronic music in the form of very short snippets of a song used as rhythmic accents in a new composition. Early breakbeat hardcore, such as Prodigy's "Fire", and hip hop in general made use of stabs. | https://en.wikipedia.org/wiki/Horn_stab |
In music, a step, or conjunct motion, is the difference in pitch between two consecutive notes of a musical scale. In other words, it is the interval between two consecutive scale degrees. Any larger interval is called a skip (also called a leap), or disjunct motion.In the diatonic scale, a step is either a minor second (sometimes also called half step) or a major second (sometimes also called whole step), with all intervals of a minor third or larger being skips. | https://en.wikipedia.org/wiki/Steps_and_skips |
For example, C to D (major second) is a step, whereas C to E (major third) is a skip. More generally, a step is a smaller or narrower interval in a musical line, and a skip is a wider or larger interval with the categorization of intervals into steps and skips is determined by the tuning system and the pitch space used. Melodic motion in which the interval between any two consecutive pitches is no more than a step, or, less strictly, where skips are rare, is called stepwise or conjunct melodic motion, as opposed to skipwise or disjunct melodic motion, characterized by frequent skips. | https://en.wikipedia.org/wiki/Steps_and_skips |
In music, a string is the vibrating element that produces sound in string instruments such as the guitar, harp, piano (piano wire), and members of the violin family. Strings are lengths of a flexible material that a musical instrument holds under tension so that they can vibrate freely, but controllably. Strings may be "plain" (consisting only of a single material, like catgut, nylon, or steel). "Wound" strings have a "core" of one material, with an overwinding of other materials. | https://en.wikipedia.org/wiki/String_(structure) |
This is to make the string vibrate at the desired pitch, while maintaining a low profile and sufficient flexibility for playability. The invention of wound strings, such as nylon covered in wound metal, was a crucial step in string instrument technology, because a metal-wound string can produce a lower pitch than a catgut string of similar thickness. This enabled stringed instruments to be made with less thick bass strings. On string instruments that the player plucks or bows directly (e.g., double bass), this enabled instrument makers to use thinner strings for the lowest-pitched strings, which made the lower-pitch strings easier to play. On stringed instruments in which the player presses a keyboard, causing a mechanism to strike the strings, such as a piano, this enabled piano builders to use shorter, thicker strings to produce the lowest-pitched bass notes, enabling the building of smaller upright pianos designed for small rooms and practice rooms. | https://en.wikipedia.org/wiki/String_(structure) |
In music, a subminor interval is an interval that is noticeably wider than a diminished interval but noticeably narrower than a minor interval. It is found in between a minor and diminished interval, thus making it below, or subminor to, the minor interval. A supermajor interval is a musical interval that is noticeably wider than a major interval but noticeably narrower than an augmented interval. | https://en.wikipedia.org/wiki/Supermajor_interval |
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