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It is found in between a major and augmented interval, thus making it above, or supermajor to, the major interval. The inversion of a supermajor interval is a subminor interval, and there are four major and four minor intervals, allowing for eight supermajor and subminor intervals, each with variants. Traditionally, "supermajor and superminor, the names given to certain thirds found in the justly intoned scale with a natural or subminor seventh." | https://en.wikipedia.org/wiki/Supermajor_interval |
In music, a symmetric scale is a music scale which equally divides the octave. The concept and term appears to have been introduced by Joseph Schillinger and further developed by Nicolas Slonimsky as part of his famous Thesaurus of Scales and Melodic Patterns. In twelve-tone equal temperament, the octave can only be equally divided into two, three, four, six, or twelve parts, which consequently may be filled in by adding the same exact interval or sequence of intervals to each resulting note (called "interpolation of notes").Examples include the octatonic scale (also known as the symmetric diminished scale; its mirror image is known as the inverse symmetric diminished scale) and the two-semitone tritone scale: As explained above, both are composed of repeating sub-units within an octave. This property allows these scales to be transposed to other notes, yet retain exactly the same notes as the original scale (Translational symmetry). | https://en.wikipedia.org/wiki/Symmetric_scale |
This may be seen quite readily with the whole tone scale on C: {C, D, E, F♯, G♯, A♯, C} If transposed up a whole tone to D, contains exactly the same notes in a different permutation: {D, E, F♯, G♯, A♯, C, D}In the case of inversionally symmetrical scales, the inversion of the scale is identical. Thus the intervals between scale degrees are symmetrical if read from the "top" (end) or "bottom" (beginning) of the scale (mirror symmetry). Examples include the Ukrainian Dorian b9 scale (sixth mode of the Hungarian Major scale), the Jazz Minor b5 scale (third mode of the Hungarian Major Inverse), the Neapolitan Major scale (fourth mode of the Major Locrian scale), the Javanese slendro, the chromatic scale, whole-tone scale, Dorian scale, the Aeolian Dominant scale (fifth mode of the melodic minor), the Harmonic Minor scale, the Major Locrian Major 7th/Harmonic Major b5 scale, the Chromatic Lydian scale (fourth mode of Blues Leading-Tone scale), the Phrygian Major Lydian scale (fourth mode of Neapolitan Major b5 scale), and the double harmonic scale. Asymmetric scales are "far more common" than symmetric scales and this may be accounted for by the inability of symmetric scales to possess the property of uniqueness (containing each interval class a unique number of times) which assists with determining the location of notes in relation to the first note of the scale. | https://en.wikipedia.org/wiki/Symmetric_scale |
In music, a synthetic scale is a scale that derives from a traditional diatonic major scale by altering of one degree by a semitone in either direction. Composer Ferruccio Busoni originally explored these scales in his A New Esthetic of Music and their number and variety were later clarified by J. Murray Barbour, who also proposed applying the procedure to scales of more or less than seven degrees, including pentatonic scales.These synthetic pitch collections may serve as basic melodic or harmonic material for a passage of music. However, the hundreds of available scales cause Murray Barbour to propose that, "The whole problem is of greater theoretical interest than of practical worth. | https://en.wikipedia.org/wiki/Synthetic_scale |
"Alexander Scriabin's mystic chord, when considered as a scale (the Prometheus scale), is an example of a synthetic chord—in that it is a whole tone scale with one degree altered. However, it was not the generating element to Scriabin's music, nor does his derivation of it from the whole tone scale necessarily indicate knowledge of Busoni's theories. Starting on C, the Prometheus scale is The semitone steps for this scale are 2, 2, 2, 3, 1, 2. By adding a G to the scale, one would end up with the Lydian♭VII, the fourth degree of the Melodic Minor scale. The pitches of synthetic scales may duplicate pre-existing scales, though their derivation is different and their use is often quite different. | https://en.wikipedia.org/wiki/Synthetic_scale |
In music, a tape phase is a recorded composition using a tape loop or its electronic simulation to produce and vary sounds. It is a form of tape music.Tape phase compositions generally make little use of tonality owing to the difficulty of producing and maintaining a coherent pitch. They may have a strong pulse and rhythm, as in the work of Steve Reich, or may be free form in this regard, as in the work of Jimi Hendrix. | https://en.wikipedia.org/wiki/Tape_phase |
In music, a tone row or note row (German: Reihe or Tonreihe), also series or set, is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found. | https://en.wikipedia.org/wiki/Retrograde_equivalency |
In music, a vamp is a repeating musical figure, section, or accompaniment used in blues, jazz, gospel, soul, and musical theater. Vamps are also found in rock, funk, reggae, R&B, pop, and country. Vamps are usually harmonically sparse: A vamp may consist of a single chord or a sequence of chords played in a repeated rhythm. The term frequently appeared in the instruction 'Vamp till ready' on sheet music for popular songs in the 1930s and 1940s, indicating the accompanist should repeat the musical phrase until the vocalist was ready. | https://en.wikipedia.org/wiki/Ground_bass |
Vamps are generally symmetrical, self-contained, and open to variation. The equivalent in classical music is an ostinato, in hip hop and electronic music the loop, and in rock music the riff.The slang term vamp comes from the Middle English word vampe (sock), from Old French avanpie, equivalent to Modern French avant-pied, literally before-foot.Many vamp-oriented songwriters begin the creative process by attempting to evoke a mood or feeling while riffing freely on an instrument or scat singing. | https://en.wikipedia.org/wiki/Ground_bass |
Many well known artists primarily build songs with a vamp/riff/ostinato based approach—including John Lee Hooker ("Boogie Chillen", "House Rent Boogie"), Bo Diddley ("Hey Bo Diddley", "Who Do You Love? "), Jimmy Page ("Ramble On", "Bron Yr Aur"), Nine Inch Nails ("Closer"), and Beck ("Loser"). Classic examples of vamps in jazz include "A Night in Tunisia", "Take Five", "A Love Supreme", "Maiden Voyage", and "Cantaloupe Island". Rock examples include the long jam at the ends of "Loose Change" by Neil Young and Crazy Horse and "Sooner or Later" by King's X. | https://en.wikipedia.org/wiki/Ground_bass |
In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or hexatonic scales. A single whole-tone scale can also be thought of as a "six-tone equal temperament". The whole-tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, the scale creates a blurred, indistinct effect". | https://en.wikipedia.org/wiki/Whole_tone_scale |
This effect is especially emphasised by the fact that triads built on such scale tones are all augmented triads. Indeed, all six tones of a whole-tone scale can be played simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole-tone scales do not give a strong impression of the tonic or tonality. | https://en.wikipedia.org/wiki/Whole_tone_scale |
Only two triads are possible, both of them augmented, and...all inversions sound alike. All 'progressions' tend to have the same tonal character. | https://en.wikipedia.org/wiki/Whole_tone_scale |
What one hears are tone centers rather than tonics, and only when they are stressed , as by repetition or duration. It cannot be denied that the small number of possible different intervals and nonequivalent chords available in the whole-tone scale results in a soft-edged, neutral kind of sound lacking in tonal contrast.... Since the 1930s...whole-tone harmony...has become one of the platitudes of the "Hollywood Style." The composer Olivier Messiaen called the whole-tone scale his first mode of limited transposition. | https://en.wikipedia.org/wiki/Whole_tone_scale |
The composer and music theorist George Perle calls the whole-tone scale interval cycle 2, or C2. Since there are only two possible whole-tone-scale positions (that is, the whole-tone scale can be transposed only once), it is either C20 or C21. For this reason, the whole-tone scale is also maximally even and may be considered a generated collection. | https://en.wikipedia.org/wiki/Whole_tone_scale |
Due to this symmetry, the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords, whose "individual structural differences can be seen to result only from a difference in the 'location', or placement, of a semitone within the otherwise whole-tone series." Alexander Scriabin's mystic chord is a primary example, being a whole-tone scale with one note raised a semitone; this alteration allows for a greater variety of resources through transposition. | https://en.wikipedia.org/wiki/Whole_tone_scale |
In music, alternate bass is a performance technique on many instruments where the bass alternates between two notes, most often the root and the fifth of a triad or chord. The perfect fifth is often, but not always, played below the root, transposed down an octave creating a fourth interval. The alternation between the root note and the fifth scale degree below it creates the characteristic sound of the alternate bass. | https://en.wikipedia.org/wiki/Alternate_bass |
On the guitar and bass guitar this is accomplished with the right hand alternating between two or more strings, often the bottom two on the guitar. In the following example in the C major chord C is located on the fifth string while G is located on the adjacent sixth (lowest) string and in the F major chord F is located on the adjacent fourth string: Alternate bass lines are also used on the double bass in country music, bluegrass music and related genres. On the Stradella bass system commonly found on accordions, the left-hand bass-note buttons are arranged according to the circle of fifths. The bass button for the fifth is directly above the bass button for the root. | https://en.wikipedia.org/wiki/Alternate_bass |
In music, an accent is an emphasis, stress, or stronger attack placed on a particular note or set of notes, or chord, either as a result of its context or specifically indicated by an accent mark. Accents contribute to the articulation and prosody of a performance of a musical phrase. Accents may be written into a score or part by a composer, or added by the performer as part of their interpretation of a musical piece. Compared to surrounding notes: A dynamic accent or stress accent is an emphasis using louder sound or stronger sound; typically most pronounced on the attack of the sound. | https://en.wikipedia.org/wiki/Accent_(music) |
A tonic accent is an emphasis on notes by virtue of them being higher in pitch, as opposed to higher in volume. An agogic accent is an emphasis by virtue of notes being longer in duration.Accents that don't correspond to the stressed beats of the prevailing meter are said to be syncopated. For example, in common time, also called 4/4, the most common metre in popular music, the stressed beats are one and three. | https://en.wikipedia.org/wiki/Accent_(music) |
If accented chords or notes are played on beats two or four, that creates syncopation, since the music is emphasizing the "weak" beats of the bar. Syncopation is used in classical music, popular music, and traditional music. However, it is more prominent in blues, jazz, funk, disco, and Latin music. | https://en.wikipedia.org/wiki/Accent_(music) |
In music, an all-interval twelve-tone row, series, or chord, is a twelve-tone tone row arranged so that it contains one instance of each interval within the octave, 1 through 11 (an ordering of every interval, 0 through 11, that contains each (ordered) pitch-interval class, 0 through 11). A "twelve-note spatial set made up of the eleven intervals ." There are 1,928 distinct all-interval twelve-tone rows. | https://en.wikipedia.org/wiki/All-interval_twelve-tone_row |
These sets may be ordered in time or in register. "Distinct" in this context means in transpositionally and rotationally normal form (yielding 3856 such series), and disregarding inversionally related forms. These 1,928 tone rows have been independently rediscovered several times, their first computation probably was by Andre Riotte in 1961, see.Since the sum of numbers 1 through 11 equals 66, an all-interval row must contain a tritone between its first and last notes, as well as in their middle. | https://en.wikipedia.org/wiki/All-interval_twelve-tone_row |
In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s progression: |G / Em / |Am / D7 / || may be filled in with approach chords: |G F9 Em Abm |Am D#7 D7 Gb7 || F9 being the half-step to Em, A♭m being the half-step to Am, D♯7 being the half-step to D7, and G♭7 being the half-step to G. G being I, Em being vi, Am being ii, and D7 being V7 (see ii-V-I turnaround and circle progression). An approach chord may also be the chord immediately preceding the target chord such as the subdominant (FMaj7) preceding the tonic (CMaj7) creating a strong cadence through the contrast of no more than two common tones: FACE – CEGB. Approach chords may thus be a semitone or a fifth or fourth from their target.Approach chords create the harmonic space of the modes in jazz rather than secondary dominants. | https://en.wikipedia.org/wiki/Approach_chord |
In music, an arrangement is a musical adaptation of an existing composition. Differences from the original composition may include reharmonization, melodic paraphrasing, orchestration, or formal development. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. | https://en.wikipedia.org/wiki/Musical_arranger |
Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, and endings. Arranging is the art of giving an existing melody musical variety". In jazz, a memorized (unwritten) arrangement of a new or pre-existing composition is known as a head arrangement. | https://en.wikipedia.org/wiki/Musical_arranger |
In music, an augmented major seventh chord or major seventh sharp five chord is a seventh chord composed of a root, major third, augmented fifth, and major seventh (1, 3, ♯5, 7). It can be viewed as an augmented triad with an additional major seventh. When using popular-music symbols, it is denoted by augM7, +M7, +Δ7, M7♯5, M7(♯5), M7/♯5, M7+5, maj+7, Δ+7, etc. For example, the augmented major seventh chord built on A♭, written as A♭augM7, has pitches A♭-C-E-G: The chord can be represented by the integer notation {0, 4, 8, 11}. The augmented major seventh chord is associated with the augmented scale (see jazz scale and chord-scale system). | https://en.wikipedia.org/wiki/Augmented_major_seventh_chord |
This chord also comes from the third mode of both the harmonic minor and the melodic minor scales. For example, the third mode of the A melodic minor scale outlines an augmented major seventh chord, as shown below. As with dominant seventh chords, nondominant seventh chords including the augmented major seventh usually progress according to the circle, thus III+M7 resolves to vi or VI. For example, in the key of A minor, C maj7♯5 usually resolves to F. | https://en.wikipedia.org/wiki/Augmented_major_seventh_chord |
In music, an augmented sixth () is an interval produced by widening a major sixth by a chromatic semitone. For instance, the interval from C to A is a major sixth, nine semitones wide, and both the intervals from C♭ to A, and from C to A♯ are augmented sixths, spanning ten semitones. Being augmented, it is considered a dissonant interval.Its inversion is the diminished third, and its enharmonic equivalent is the minor seventh. In septimal meantone temperament, it is specifically equivalent to the harmonic seventh (a just interval of 7:4). | https://en.wikipedia.org/wiki/Augmented_sixth |
In the tuning system known as equal temperament the augmented sixth is equal to ten semitones and is a dissonant interval. The augmented sixth is relatively rare. Its most common occurrence is built on the lowered submediant of the prevailing key, in which position the interval assumes a natural tendency to resolve by expanding to an octave built on the dominant tonal degree. | https://en.wikipedia.org/wiki/Augmented_sixth |
In its most common and expected resolution, the lower note of the interval moves downwards by a minor second to the dominant while the upper note, being chromatically inflected, is heard as the leading note of the dominant key, rising naturally by a minor second. It is the strong tendency to resolve in this way that properly identifies this interval as being an augmented sixth rather than its more common enharmonic equivalent: the minor seventh, which has a tendency to resolve inwardly. As the augmented sixth is correctly named only in certain specific contexts, the notational distinction between it and the minor seventh is often ignored. | https://en.wikipedia.org/wiki/Augmented_sixth |
Regardless of the true diatonic context, many writers are instead in favor of the more familiar minor seventh – especially in chord notation, in which chords containing it are always labeled seventh chords. The augmented sixth interval in combination with certain other intervals forms the group of chords known collectively as augmented sixth chords. The just augmented sixth arises in the extended C major scale between A♭ and F♯. | https://en.wikipedia.org/wiki/Augmented_sixth |
In music, an eight-bar blues is a common blues chord progression. Music writers have described it as "the second most common blues form" being "common to folk, rock, and jazz forms of the blues". It is often notated in 44 or 128 time with eight bars to the verse. | https://en.wikipedia.org/wiki/Eight-bar_blues |
In music, an electronic tuner is a device that detects and displays the pitch of musical notes played on a musical instrument. "Pitch" is the perceived fundamental frequency of a musical note, which is typically measured in Hertz. Simple tuners indicate—typically with an analog needle or dial, LEDs, or an LCD screen—whether a pitch is lower, higher, or equal to the desired pitch. | https://en.wikipedia.org/wiki/Electric_tuner |
Since the early 2010s, software applications can turn a smartphone, tablet, or personal computer into a tuner. More complex and expensive tuners indicate pitch more precisely. Tuners vary in size from units that fit in a pocket to 19" rack-mount units. | https://en.wikipedia.org/wiki/Electric_tuner |
Instrument technicians and piano tuners typically use more expensive, accurate tuners.The simplest tuners detect and display tuning only for a single pitch—often "A" or "E"—or for a small number of pitches, such as the six used in the standard tuning of a guitar (E,A,D,G,B,E). More complex tuners offer chromatic tuning for all 12 pitches of the equally tempered octave. Some electronic tuners offer additional features, such as pitch calibration, temperament options, the sounding of a desired pitch through an amplifier plus speaker, and adjustable "read-time" settings that affect how long the tuner takes to measure the pitch of the note. | https://en.wikipedia.org/wiki/Electric_tuner |
Among the most accurate tuning devices, strobe tuners work differently than regular electronic tuners. They are stroboscopes that flicker a light at the same frequency as the note. The light shines on a wheel that spins at a precise speed. | https://en.wikipedia.org/wiki/Electric_tuner |
The interaction of the light and regularly-spaced marks on the wheel creates a stroboscopic effect that makes the marks for a particular pitch appear to stand still when the pitch is in tune. These can tune instruments and audio devices more accurately than most non-strobe tuners. However, mechanical strobe units are expensive and delicate, and their moving parts require periodic servicing, so they are used mainly in applications that require higher precision, such as by professional instrument makers and repair experts. | https://en.wikipedia.org/wiki/Electric_tuner |
In music, an interval cycle is a collection of pitch classes created from a sequence of the same interval class. In other words, a collection of pitches by starting with a certain note and going up by a certain interval until the original note is reached (e.g. starting from C, going up by 3 semitones repeatedly until eventually C is again reached - the cycle is the collection of all the notes met on the way). In other words, interval cycles "unfold a single recurrent interval in a series that closes with a return to the initial pitch class". | https://en.wikipedia.org/wiki/Interval_cycle |
See: wikt:cycle. Interval cycles are notated by George Perle using the letter "C" (for cycle), with an interval class integer to distinguish the interval. Thus the diminished seventh chord would be C3 and the augmented triad would be C4. | https://en.wikipedia.org/wiki/Interval_cycle |
A superscript may be added to distinguish between transpositions, using 0–11 to indicate the lowest pitch class in the cycle. "These interval cycles play a fundamental role in the harmonic organization of post-diatonic music and can easily be identified by naming the cycle. "Here are interval cycles C1, C2, C3, C4 and C6: Interval cycles assume the use of equal temperament and may not work in other systems such as just intonation. | https://en.wikipedia.org/wiki/Interval_cycle |
For example, if the C4 interval cycle used justly-tuned major thirds it would fall flat of an octave return by an interval known as the diesis. Put another way, a major third above G♯ is B♯, which is only enharmonically the same as C in systems such as equal temperament, in which the diesis has been tempered out. Interval cycles are symmetrical and thus non-diatonic. | https://en.wikipedia.org/wiki/Interval_cycle |
However, a seven-pitch segment of C7 will produce the diatonic major scale: This is known also known as a generated collection. A minimum of three pitches are needed to represent an interval cycle.Cyclic tonal progressions in the works of Romantic composers such as Gustav Mahler and Richard Wagner form a link with the cyclic pitch successions in the atonal music of Modernists such as Béla Bartók, Alexander Scriabin, Edgard Varèse, and the Second Viennese School (Arnold Schoenberg, Alban Berg, and Anton Webern). At the same time, these progressions signal the end of tonality.Interval cycles are also important in jazz, such as in Coltrane changes. | https://en.wikipedia.org/wiki/Interval_cycle |
"Similarly," to any pair of transpositionally related sets being reducible to two transpositionally related representations of the chromatic scale, "the pitch-class relations between any pair of inversionally related sets is reducible to the pitch-class relations between two inversionally related representations of the semitonal scale." Thus an interval cycle or pair of cycles may be reducible to a representation of the chromatic scale. As such, interval cycles may be differentiated as ascending or descending, with, "the ascending form of the semitonal scale a 'P cycle' and the descending form an 'I cycle'," while, "inversionally related dyads 'P/I' dyads." P/I dyads will always share a sum of complementation. Cyclic sets are those "sets whose alternate elements unfold complementary cycles of a single interval," that is an ascending and descending cycle: In 1920 Berg discovered/created a "master array" of all twelve interval cycles: Berg's Master Array of Interval Cycles Cycles P 0 11 10 9 8 7 6 5 4 3 2 1 0 P I I 0 1 2 3 4 5 6 7 8 9 10 11 0 _______________________________________ 0 0 | 0 0 0 0 0 0 0 0 0 0 0 0 0 11 1 | 0 11 10 9 8 7 6 5 4 3 2 1 0 10 2 | 0 10 8 6 4 2 0 10 8 6 4 2 0 9 3 | 0 9 6 3 0 9 6 3 0 9 6 3 0 8 4 | 0 8 4 0 8 4 0 8 4 0 8 4 0 7 5 | 0 7 2 9 4 11 6 1 8 3 10 5 0 6 6 | 0 6 0 6 0 6 0 6 0 6 0 6 0 5 7 | 0 5 10 3 8 1 6 11 4 9 2 7 0 4 8 | 0 4 8 0 4 8 0 4 8 0 4 8 0 3 9 | 0 3 6 9 0 3 6 9 0 3 6 9 0 2 10 | 0 2 4 6 8 10 0 2 4 6 8 10 0 1 11 | 0 1 2 3 4 5 6 7 8 9 10 11 0 0 0 | 0 0 0 0 0 0 0 0 0 0 0 0 0 Source: | https://en.wikipedia.org/wiki/Interval_cycle |
In music, an interval ratio is a ratio of the frequencies of the pitches in a musical interval. For example, a just perfect fifth (for example C to G) is 3:2 (), 1.5, and may be approximated by an equal tempered perfect fifth () which is 27/12 (about 1.498). If the A above middle C is 440 Hz, the perfect fifth above it would be E, at (440*1.5=) 660 Hz, while the equal tempered E5 is 659.255 Hz. Ratios, rather than direct frequency measurements, allow musicians to work with relative pitch measurements applicable to many instruments in an intuitive manner, whereas one rarely has the frequencies of fixed pitched instruments memorized and rarely has the capabilities to measure the changes of adjustable pitch instruments (electronic tuner). | https://en.wikipedia.org/wiki/Frequency_ratio |
Ratios have an inverse relationship to string length, for example stopping a string at two-thirds (2:3) its length produces a pitch one and one-half (3:2) that of the open string (not to be confused with inversion). Intervals may be ranked by relative consonance and dissonance. As such ratios with lower integers are generally more consonant than intervals with higher integers. | https://en.wikipedia.org/wiki/Frequency_ratio |
For example, 2:1 (), 4:3 (), 9:8 (), 65536:59049 (), etc. Consonance and dissonance may more subtly be defined by limit, wherein the ratios whose limit, which includes its integer multiples, is lower are generally more consonant. For example, the 3-limit 128:81 () and the 7-limit 14:9 (). Despite having larger integers 128:81 is less dissonant than 14:9, as according to limit theory. For ease of comparison intervals may also be measured in cents, a logarithmic measurement. For example, the just perfect fifth is 701.955 cents while the equal tempered perfect fifth is 700 cents. | https://en.wikipedia.org/wiki/Frequency_ratio |
In music, an irregular resolution is resolution by a dominant seventh chord or diminished seventh chord to a chord other than the tonic. Regarding the dominant seventh, there are many irregular resolutions including to a chord with which it has tones in common or if the parts move only a whole or half step. Consecutive fifths and octaves, augmented intervals, and false relations should still be avoided. Voice leading may cause the seventh to ascend, to be prolonged into the next chord, or to be unresolved.The following resolutions to a chord with tones in common have been identified: Type I, in which the root motion descends by minor third. | https://en.wikipedia.org/wiki/Irregular_resolution |
C, E, G, B♭ would resolve to C♯, E, G, A; two tones are common, two voices move by half-step in contrary motion. Type II, in which the root motion rises by minor third. C, E, G, B♭ would resolve to D♭, E♭, G, B♭; again, two tones are common, two voices move by half-step in contrary motion. | https://en.wikipedia.org/wiki/Irregular_resolution |
Type III, in which the root moves a tritone (two minor thirds) away. C, E, G, B♭ would resolve to C♯, E, F♯, B♭ = A♯; again, two tones are common (with enharmonic change), two voices move by half-step in contrary motion.Type I is common from the 18th century; Type II may be found from the second quarter of the 19th century; Type III may be found from the mid-19th century. The composer Richard Edward Wilson is responsible for the categorization. The most important irregular resolution is the deceptive cadence, most commonly V7–vi in major or V7–VI in minor. Irregular resolutions also include V7 becoming an augmented sixth through enharmonic equivalence or in other words (and the adjacent image) resolving to the I chord in the key the augmented sixth chord (FACD♯) would be in (A) rather than the key the dominant seventh (FACE♭) would be in (B♭). | https://en.wikipedia.org/wiki/Irregular_resolution |
In music, an octave (Latin: octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music", the use of which is "common in most musical systems". The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class. | https://en.wikipedia.org/wiki/Perfect_octave |
To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated 8a or 8va (Italian: all'ottava), 8va bassa (Italian: all'ottava bassa, sometimes also 8vb), or simply 8 for the octave in the direction indicated by placing this mark above or below the staff. | https://en.wikipedia.org/wiki/Perfect_octave |
In music, an ostinato (Italian: ; derived from Italian word for stubborn, compare English obstinate) is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's Boléro and the Carol of the Bells, and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from Peter Gunn (1959), The Who's "Baba O'Riley" (1971), and The Verve's "Bitter Sweet Symphony" (1997).Both ostinatos and ostinati are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys. | https://en.wikipedia.org/wiki/Ground_bass |
If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident. Within the context of film music, Claudia Gorbman defines an ostinato as a repeated melodic or rhythmic figure that propels scenes that lack dynamic visual action.Ostinati play an important part in improvised music (rock and jazz), in which they are often referred to as riffs or vamps. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.The term ostinato essentially has the same meaning as the medieval Latin word pes, the word ground as applied to classical music, and the word riff in contemporary popular music. | https://en.wikipedia.org/wiki/Ground_bass |
In music, arch form is a sectional structure for a piece of music based on repetition, in reverse order, of all or most musical sections such that the overall form is symmetric, most often around a central movement. The sections need not be repeated verbatim but must at least share thematic material. It creates interest through interplay among "memory, variation, and progression". | https://en.wikipedia.org/wiki/Arch_form |
Though the form appears to be static and to deny progress, the pairs of movements create an "undirectional process" with the center, and the form "actually engenders specific expressive possibilities that would otherwise be unavailable for the work as a whole".Béla Bartók is noted for his use of arch form, e.g., in his fourth and fifth string quartets, Concerto for Orchestra, Music for Strings, Percussion and Celesta, second piano concerto, and, to a lesser extent, in his second violin concerto. Samuel Barber's Adagio for Strings and Shostakovich's String Quartet No. 8 in C minor also use arch form. The most popular arch-form structure is ABCBA. | https://en.wikipedia.org/wiki/Arch_form |
In music, audio post-production includes processes such as mixing and mastering. The audio engineering community more commonly refers to these processes as music production. | https://en.wikipedia.org/wiki/Audio_post_production |
In music, augmented chords are symbolized with a plus sign, although this practice is not universal (as there are other methods for spelling those chords). For example, "C+" is read "C augmented chord". Sometimes the plus is written as a superscript. | https://en.wikipedia.org/wiki/Minus_sign |
In music, birdsong has influenced composers and musicians in several ways: they can be inspired by birdsong; they can intentionally imitate bird song in a composition, as Vivaldi and Beethoven did, along with many later composers, such as Messiaen; they can incorporate recordings of birds into their works, as Ottorino Respighi first did; or like Beatrice Harrison and David Rothenberg, they can duet with birds. Authors including Rothenberg have claimed that birds sing on traditional scales as used in human music, but at least one songbird does not choose notes in this way.Among birds which habitually borrow phrases or sounds from other species, the way they use variations of rhythm, relationships of musical pitch, and combinations of notes can resemble music. Hollis Taylor's in-depth analysis of pied butcherbird vocalizations provides a detailed rebuttal to objections of birdsong being judged as music. The similar motor constraints on human and avian song may have driven these to have similar song structures, including "arch-shaped and descending melodic contours in musical phrases", long notes at the ends of phrases, and typically small differences in pitch between adjacent notes, at least in birds with a strong song structure like the Eurasian treecreeper Certhia familiaris. | https://en.wikipedia.org/wiki/Bird_vocalization |
In music, birdsong has influenced composers and musicians in several ways: they can be inspired by birdsong; they can intentionally imitate bird song in a composition, as Vivaldi and Beethoven did, along with many later composers; they can incorporate recordings of birds into their works, first seen in the work of Ottorino Respighi; or as Beatrice Harrison did in 1924 with a nightingale, and David Rothenberg did in 2000 with a laughingthrush, they can duet with birds.At least two groups of scientists, namely Luis Felipe Baptista and Robin A. Keister in 2005, and Adam Tierney and colleagues in 2011, have argued that birdsong has a similar structure to music. Baptista and Keister argue that the way birds use variations of rhythm, relationships of musical pitch, and combinations of notes is somewhat musical, perhaps because some birds exploit variation in song to avoid monotony, or mimic other species. Tierney argues that the similar motor constraints on human and avian song drive these to have similar song structures, including "arch-shaped and descending melodic contours in musical phrases", long notes at the ends of phrases, and typically small differences in pitch between adjacent notes. | https://en.wikipedia.org/wiki/Human_uses_of_birds |
In music, birdsong has influenced composers and musicians in several ways: they can be inspired by birdsong; they can intentionally imitate bird song in a composition, as Vivaldi, Messiaen, and Beethoven did, along with many later composers; they can incorporate recordings of birds into their works, as Ottorino Respighi first did; or like Beatrice Harrison and David Rothenberg, they can duet with birds. | https://en.wikipedia.org/wiki/Birb |
In music, call and response is a succession of two distinct phrases usually written in different parts of the music, where the second phrase is heard as a direct commentary on or in response to the first. This can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping the initial speaker(s). It corresponds to the call and response pattern in human communication and is found as a basic element of musical form, such as verse-chorus form, in many traditions. | https://en.wikipedia.org/wiki/Call_and_response_(music) |
In music, changing tones (also called double neighboring tones and neighbor group) consists of two consecutive non-chord tones. The first moves in one direction by a step from a chord tone, then skips by a third in the opposite direction to another non-chord tone, and then finally resolves back to the original chord tone. Changing tones appear to resemble two consecutive neighbor tones; an upper neighbor and a lower neighbor with the chord tone missing from the middle. | https://en.wikipedia.org/wiki/Changing_tones |
The changing tone functions as a way to decorate, or embellish, a chord tone and are also used to provide rhythmic interest between common tones. In rare instances, changing tones can be heard as musical cryptograms, such as the cruciform melody. == References == | https://en.wikipedia.org/wiki/Changing_tones |
In music, chromatic mediants are "altered mediant and submediant chords." A chromatic mediant relationship defined conservatively is a relationship between two sections and/or chords whose roots are related by a major third or minor third, and contain one common tone (thereby sharing the same quality, i.e. major or minor). For example, in the key of C major the diatonic mediant and submediant are E minor and A minor respectively. Their parallel majors are E major and A major. | https://en.wikipedia.org/wiki/Chromatic_mediant |
The mediants of the parallel minor of C major (C minor) are E♭ major and A♭ major. Thus, by this conservative definition, C major has four chromatic mediants: E major, A major, E♭ major, and A♭ major. There is not complete agreement on the definition of chromatic mediant relationships. | https://en.wikipedia.org/wiki/Chromatic_mediant |
Theorists such as Allen Forte define chromatic mediants conservatively, only allowing chromatic mediant chords of the same quality (major or minor) as described above. However, he describes an even more distant "doubly-chromatic mediant" relationship shared by two chords of the opposite mode, with roots a third apart and no common tones; for example C major and E♭ or A♭ minor, and A minor and C♯ or F♯ major. Other less conservative theorists, such as Benward and Saker, include these additional chords of opposite quality and no shared tones in their default definition of chromatic mediants. | https://en.wikipedia.org/wiki/Chromatic_mediant |
Thus, by this more permissive definition, C major has six chromatic mediants: E major, A major, E♭ major, A♭ major, E♭ minor and A♭ minor. When a conservative chromatic mediant relationship involves seventh chords, "...the triad portions of the chords are both major or both minor." This pertains to the more permissive definition of chromatic mediant relationships as well. | https://en.wikipedia.org/wiki/Chromatic_mediant |
Chromatic mediants are usually in root position, may appear in either major or minor keys, usually provide color and interest while prolonging the tonic harmony, proceed from and to the tonic or less often the dominant, sometimes are preceded or followed by their own secondary dominants, or sometimes create a complete modulation. Some chromatic mediants are equivalent to altered chords, for example ♭VI is also a borrowed chord from the parallel minor, VI is also a secondary dominant of ii (V/ii), and III is V/vi, with context and analysis revealing the distinction. Chromatic mediant chords were rarely used during the baroque and classical periods, though the chromatic mediant relationship was occasionally found between sections, but the chords and relationships became much more common during the romantic period and became even more prominent in post-romantic and impressionistic music. One author describes their use within phrases as, "surprising," even more so than the deceptive cadence, in part due to their rarity and in part due to their chromaticism (they come from 'outside' the key), while another says they are so rare that one should first eliminate the possibility that one is looking at a diatonic movement (presumably, borrowing), then make sure that it is not a secondary chord, and then, "finally," one may consider, "the likeliness of an actual chromatic mediant relationship." | https://en.wikipedia.org/wiki/Chromatic_mediant |
In music, consecutive fifths or parallel fifths are progressions in which the interval of a perfect fifth is followed by a different perfect fifth between the same two musical parts (or voices): for example, from C to D in one part along with G to A in a higher part. Octave displacement is irrelevant to this aspect of musical grammar; for example, a parallel twelfth (i.e., an octave plus a fifth) is equivalent to a parallel fifth.Though used in, and evocative of, various kinds of popular, folk, and medieval music, parallel motion in perfect consonances (P1, P5, P8) is strictly forbidden in species counterpoint instruction (1725–present), and during the common practice period, consecutive fifths were strongly discouraged. This was primarily due to the notion of voice leading in tonal music, in which "one of the basic goals ... is to maintain the relative independence of the individual parts. "A common theory is that the presence of the 3rd harmonic of the harmonic series influenced the creation of the prohibition. | https://en.wikipedia.org/wiki/Consecutive_fifths |
In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term sonance has been proposed to encompass or refer indistinctly to the terms consonance and dissonance. | https://en.wikipedia.org/wiki/Perfect_consonance |
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin punctus contra punctum meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). | https://en.wikipedia.org/wiki/Species_counterpoint |
There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. | https://en.wikipedia.org/wiki/Species_counterpoint |
In music, counting is a system of regularly occurring sounds that serve to assist with the performance or audition of music by allowing the easy identification of the beat. Commonly, this involves verbally counting the beats in each measure as they occur, whether there be 2 beats, 3 beats, 4 beats, or even 5 beats. In addition to helping to normalize the time taken up by each beat, counting allows easier identification of the beats that are stressed. Counting is most commonly used with rhythm (often to decipher a difficult rhythm) and form and often involves subdivision. | https://en.wikipedia.org/wiki/Counting_(music) |
In music, development is a process by which a musical idea is communicated in the course of a composition. It refers to the transformation and restatement of initial material. Development is often contrasted with musical variation, which is a slightly different means to the same end. Development is carried out upon portions of material treated in many different presentations and combinations at a time, while variation depends upon one type of presentation at a time.In this process, certain central ideas are repeated in different contexts or in altered form so that the mind of the listener consciously or unconsciously compares the various incarnations of these ideas. | https://en.wikipedia.org/wiki/Musical_development |
Listeners may apprehend a "tension between expected and real results" (see irony), which is one "element of surprise" in music. This practice has its roots in counterpoint, where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its contrapuntal capabilities are gradually unveiled. In sonata form, the middle section (between the exposition and the recapitulation) is called the development. | https://en.wikipedia.org/wiki/Musical_development |
Typically, in this section, material from the exposition section is developed. In some older texts, this section may be referred to as free fantasia.According to the Oxford Companion to Music there are several ways of developing a theme. These include: The division of a theme into parts, each of which can be developed in any of the above ways or recombined in a new way. | https://en.wikipedia.org/wiki/Musical_development |
Similarly, two or more themes can be developed in combination; in some cases, themes are composed with this possibility in mind. Alteration of pitch intervals while retaining the original rhythm. | https://en.wikipedia.org/wiki/Musical_development |
Rhythmic displacement, so that the metrical stress occurs at a different point in the otherwise unchanged theme. Sequence, either diatonically within a key or through a succession of keys. The Scherzo movement from Beethoven's Piano Sonata No. 15 in D major, Op 28 (the "Pastoral" Sonata) shows a number of these processes at work on a small scale. Charles Rosen (2002) marvels at the simplicity of the musical material: "The opening theme consists of nothing but four F sharps in descending octaves, followed by a light and simple I/ii/V7/I cadence with a quirky motif repeated four times." These opening eight bars provide all the material Beethoven needs to furnish his development, which takes place in bars 33-48: | https://en.wikipedia.org/wiki/Musical_development |
In music, duration is an amount of time or how long or short a note, phrase, section, or composition lasts. "Duration is the length of time a pitch, or tone, is sounded." A note may last less than a second, while a symphony may last more than an hour. One of the fundamental features of rhythm, or encompassing rhythm, duration is also central to meter and musical form. | https://en.wikipedia.org/wiki/Duration_(music) |
Release plays an important part in determining the timbre of a musical instrument and is affected by articulation. The concept of duration can be further broken down into those of beat and meter, where beat is seen as (usually, but certainly not always) a 'constant', and rhythm being longer, shorter or the same length as the beat. Pitch may even be considered a part of duration. | https://en.wikipedia.org/wiki/Duration_(music) |
In serial music the beginning of a note may be considered, or its duration may be (for example, is a 6 the note which begins at the sixth beat, or which lasts six beats?). Durations, and their beginnings and endings, may be described as long, short, or taking a specific amount of time. Often duration is described according to terms borrowed from descriptions of pitch. | https://en.wikipedia.org/wiki/Duration_(music) |
As such, the duration complement is the amount of different durations used, the duration scale is an ordering (scale) of those durations from shortest to longest like how long Austin takes to leave class, the duration range is the difference in length between the shortest and longest, and the duration hierarchy is an ordering of those durations based on frequency of use.Durational patterns are the foreground details projected against a background metric structure, which includes meter, tempo, and all rhythmic aspects which produce temporal regularity or structure. Duration patterns may be divided into rhythmic units and rhythmic gestures (Winold, 1975, chap. 3). But they may also be described using terms borrowed from the metrical feet of poetry: iamb (weak–strong), anapest (weak–weak–strong), trochee (strong–weak), dactyl (strong–weak–weak), and amphibrach (weak–strong–weak), which may overlap to explain ambiguity. | https://en.wikipedia.org/wiki/Duration_(music) |
In music, dynamic range describes the difference between the quietest and loudest volume of an instrument, part or piece of music. In modern recording, this range is often limited through dynamic range compression, which allows for louder volume, but can make the recording sound less exciting or live.The dynamic range of music as normally perceived in a concert hall does not exceed 80 dB, and human speech is normally perceived over a range of about 40 dB. : 4 | https://en.wikipedia.org/wiki/Dynamic_range |
In music, especially Schenkerian analysis, a voice exchange (German: Stimmtausch; also called voice interchange) is the repetition of a contrapuntal passage with the voices' parts exchanged; for instance, the melody of one part appears in a second part and vice versa. It differs from invertible counterpoint in that there is no octave displacement; therefore it always involves some voice crossing. If scored for equal instruments or voices, it may be indistinguishable from a repeat, although because a repeat does not appear in any of the parts, it may make the music more interesting for the musicians. | https://en.wikipedia.org/wiki/Voice_exchange |
It is a characteristic feature of rounds, although not usually called such.Patterns of voice exchange are sometimes schematized using letters for melodic patterns. A double voice exchange has the pattern: Voice 1: a b Voice 2: b a A triple exchange would thus be written: Voice 1: a b c Voice 2: c a b Voice 3: b c a The first use of the term "Stimmtausch" was in 1903-4 in an article by Friedrich Ludwig, while its English calque was first used in 1949 by Jacques Handschin. The term is also used, with a related but distinct meaning, in Schenkerian theory. "When a piece is entirely conceived according to the system of Stimmtausch, it belongs to the rondellus type." | https://en.wikipedia.org/wiki/Voice_exchange |
In music, especially modern popular music, a slash chord or slashed chord, also compound chord, is a chord whose bass note or inversion is indicated by the addition of a slash and the letter of the bass note after the root note letter. It does not indicate "or". For example, a C major chord (C) in second inversion is written C/G or C/G bass, which reads "C slash G", "C over G" or "C over a G bass". If E were the bass it would be written C/E or C/E bass (making a major chord in first inversion), which is read "C slash E", "C over E" or C/E bass. | https://en.wikipedia.org/wiki/Slash_chord |
Some chords may not otherwise be notated, such as A♭/A. Thus, a slash chord may also indicate the chord form or shape and an additional bass note. In popular music, where the exact arrangement of notes is less important than some other forms, slash chords are generally used only when the specific bass note is important. | https://en.wikipedia.org/wiki/Slash_chord |
A common example in guitar based music is in the I-V-vi progression, in which the V chord is a passing chord. By placing the third of the V chord in the bass, a descending scale, also known as a walkdown, is created in the bass. For example, in the key of G major this would be the chords G, D/F♯, Em. | https://en.wikipedia.org/wiki/Slash_chord |
That progression has the descending bassline G, F♯, E. This type of slash chord contains diatonically occurring notes. In traditional Classical notation it would be written using figured bass symbols. Another commonly used type of slash chord in chord progressions is the minor key progression i – i/VII bass – iv/VI bass – V. In the key of A minor, this chord progression would be notated A minor, A minor/G, D Minor/F, E major (or E7). This descending bassline moving diatonically from i to V is a stock feature in popular music that is used in numerous songs. | https://en.wikipedia.org/wiki/Slash_chord |
In music, extended chords are certain chords (built from thirds) or triads with notes extended, or added, beyond the seventh. Ninth, eleventh, and thirteenth chords are extended chords. The thirteenth is the farthest extension diatonically possible as, by that point, all seven tonal degrees are represented within the chord (the next extension, the fifteenth, is the same as the root of the chord). | https://en.wikipedia.org/wiki/Extended_chords |
In practice however, extended chords do not typically use all the chord members; when it is not altered, the fifth is often omitted, as are notes between the seventh and the highest note (i.e., the ninth is often omitted in an eleventh chord; the ninth and eleventh are usually omitted in a thirteenth chord), unless they are altered to give a special texture.Chords extended beyond the seventh are rarely seen in the Baroque era, and are used more frequently in the Classical era. The Romantic era saw greatly increased use of extended harmony. Extended harmony prior to the 20th century usually has dominant function – as V9, V11, and V13, or V9/V, V13/ii etc.Examples of the extended chords used as tonic harmonies include Wild Cherry's "Play That Funky Music" (either a dominant ninth or dominant thirteenth). | https://en.wikipedia.org/wiki/Extended_chords |
In music, extended technique is unconventional, unorthodox, or non-traditional methods of singing or of playing musical instruments employed to obtain unusual sounds or timbres.Composers’ use of extended techniques is not specific to contemporary music (for instance, Hector Berlioz’s use of col legno in his Symphonie Fantastique is an extended technique) and it transcends compositional schools and styles. Extended techniques have also flourished in popular music. Nearly all jazz performers make significant use of extended techniques of one sort or another, particularly in more recent styles like free jazz or avant-garde jazz. Musicians in free improvisation have also made heavy use of extended techniques. | https://en.wikipedia.org/wiki/Extended_techniques |
Examples of extended techniques include bowing under the bridge of a string instrument or with two different bows, using key clicks on a wind instrument, blowing and overblowing into a wind instrument without a mouthpiece, or inserting objects on top of the strings of a piano. Twentieth-century exponents of extended techniques include Henry Cowell (use of fists and arms on the keyboard, playing inside the piano), John Cage (prepared piano), and George Crumb. The Kronos Quartet, which has been among the most active ensembles in promoting contemporary American works for string quartet, frequently plays music which stretches the manner in which sound can be drawn out of instruments. | https://en.wikipedia.org/wiki/Extended_techniques |
In music, flat (Italian bemolle for "soft B") means "lower in pitch". Flat is the opposite of sharp, which is a raising of pitch. In musical notation, flat means "lower in pitch by one semitone (half step)", notated using the symbol ♭ which is derived from a stylised lowercase 'b'. | https://en.wikipedia.org/wiki/Double_flat |
In music, form describes the overall structure or plan of a song or piece of music, and it describes the layout of a composition as divided into sections. In the early 20th century, Tin Pan Alley songs and Broadway musical songs were often in AABA 32 bar form, in which the A sections repeated the same eight bar melody (with variation) and the B section provided a contrasting melody or harmony for eight bars. From the 1960s onward, Western pop and rock songs are often in verse-chorus form, which comprises a sequence of verse and chorus ("refrain") sections, with new lyrics for most verses and repeating lyrics for the choruses. Popular music often makes use of strophic form, sometimes in conjunction with the twelve bar blues.In the tenth edition of The Oxford Companion to Music, Percy Scholes defines musical form as "a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration." | https://en.wikipedia.org/wiki/Music |
Examples of common forms of Western music include the fugue, the invention, sonata-allegro, canon, strophic, theme and variations, and rondo. Scholes states that European classical music had only six stand-alone forms: simple binary, simple ternary, compound binary, rondo, air with variations, and fugue (although musicologist Alfred Mann emphasized that the fugue is primarily a method of composition that has sometimes taken on certain structural conventions.) Where a piece cannot readily be broken down into sectional units (though it might borrow some form from a poem, story or programme), it is said to be through-composed. Such is often the case with a fantasia, prelude, rhapsody, etude (or study), symphonic poem, Bagatelle, impromptu, etc. Professor Charles Keil classified forms and formal detail as "sectional, developmental, or variational." | https://en.wikipedia.org/wiki/Music |
In music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener." Form refers to the largest shape of the composition. | https://en.wikipedia.org/wiki/Musical_form |
Form in music is the result of the interaction of the four structural elements described above ." These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through the expansion and development of these ideas. | https://en.wikipedia.org/wiki/Musical_form |
In tonal harmony, form is articulated primarily through cadences, phrases, and periods. "Form refers to the larger shape of the composition. Form in music is the result of the interaction of the four structural elements," of sound, harmony, melody, and rhythm.Although, it has been recently stated that form can be present under the influence of musical contour, also know as Contouric Form. | https://en.wikipedia.org/wiki/Musical_form |
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