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In music, the "Ode-to-Napoleon" hexachord (also magic hexachord and hexatonic collection or hexatonic set class) is the hexachord named after its use in the twelve-tone piece Ode to Napoleon Buonaparte (1942) by Arnold Schoenberg (setting a text by Byron). Containing the pitch-classes 014589 (C, C♯, E, F, G♯, A) it is given Forte number 6–20 in Allen Forte's taxonomic system. The primary form of the tone row used in the Ode allows the triads of G minor, E♭ minor, and B minor to easily appear.The "Ode-to-Napoleon" hexachord is the six-member set-class with the highest number of interval classes 3 and 4 yet lacks 2s and 6s. 6-20 maps onto itself under transposition three times (@0,4,8) and under inversion three times (@1,4,9) (six degrees of symmetry), allowing only four distinct forms, one form overlapping with another by way of an augmented triad or not at all, and two augmented triads exhaust the set as do six minor and major triads with roots along the augmented triad. | https://en.wikipedia.org/wiki/"Ode-to-Napoleon"_hexachord |
Its only five-note subset is 5-21 (0,1,4,5,8), the complement of which is 7-21 (0,1,2,4,5,8,9), the only superset of 6-20. The only more redundant hexachord is 6-35. It is also Ernő Lendvai's "1:3 Model" scale and one of Milton Babbitt's six all-combinatorial hexachord "source sets".The hexachord has been used by composers including Bruno Maderna and Luigi Nono, such as in Nono's Variazioni canoniche sulla serie dell'op. | https://en.wikipedia.org/wiki/"Ode-to-Napoleon"_hexachord |
41 di Arnold Schönberg (1950), Webern's Concerto, Op. 24, Schoenberg's Suite, Op. 29 (1926), Babbitt's Composition for Twelve Instruments (1948) and Composition for Four Instruments (1948) third and fourth movements. The hexachord has also been used by Alexander Scriabin and Béla Bartók but is not featured in the music of Igor Stravinsky.It is used combinatorially in Schoenberg's Suite: P3: E♭ G F♯ B♭ D B // C A A♭ E F D♭ I8: G♯ E F D♭ A C // B D E♭ G F♯ B♭ Note that its complement is also 6-20. | https://en.wikipedia.org/wiki/"Ode-to-Napoleon"_hexachord |
In music, the 'Farben' chord is a chord, in ascending order C–G♯–B–E–A, named after its use in Five Pieces for Orchestra, Op.16, No. 3, "Farben" (German: "colors") by Arnold Schoenberg. Its unordered pitch-class content in normal form is 01348 (e.g., C–C♯–E♭–E–G♯), its Forte number is 5-z17, in the taxonomy of Allen Forte. The identity of the Farben chord, however, depends on ordering of its pitches in a particular voicing. It is enharmonically equivalent to a minor/major ninth chord: A–C–E–G♯–B. | https://en.wikipedia.org/wiki/Farben_chord |
According to Forte, Schoenberg developed the pentad canonically in "Farben" (also titled "Summer Morning by a Lake" or "Chord-Colors"), while Alban Berg used the chord as one of three on which Act I scene 2 of Wozzeck is based. The pentad is "almost octatonic" and has been called "a 'classic' atonal set type". The chord relates the movement to the other movements of the piece, with it appearing as the first chord of movement No.2 and in movement No.4, "The figure in the first bar is actually a horizontal version of the chord from the preceding movement." == References == | https://en.wikipedia.org/wiki/Farben_chord |
In music, the 'northern lights' chord is an eleven-note chord from Ernst Krenek's Cantata for Wartime (1943), that represents the Northern Lights. Krenek's student Robert Erickson cited the chord as an example of a texture arranged so as to "closely approach the single-object status of fused-ensemble timbres, for example, the beautiful 'northern lights'...chord, in a very interesting distribution of pitches, produces a fused sound supported by a suspended cymbal roll". "The 'northern lights' sounds, so icy and impersonal and menacing, are a brilliant orchestral invention. | https://en.wikipedia.org/wiki/Northern_lights_chord |
"At eleven notes the chord is one pitch shy of the total chromatic. Every note except E is sounded. == References == | https://en.wikipedia.org/wiki/Northern_lights_chord |
In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. In German musical nomenclature, in which the note B natural is named H and the B flat named B, it forms Johann Sebastian Bach's family name. One of the most frequently occurring examples of a musical cryptogram, the motif has been used by countless composers, especially after the Bach Revival in the first half of the 19th century. | https://en.wikipedia.org/wiki/BACH_motif |
In music, the Lydian augmented scale (Lydian ♯5 scale) is the third mode of the ascending melodic minor scale. Starting on C, the notes would be as follows: Generically the whole and half steps are: - W - W - W - W - H - W - H - The scale may be thought of as a major scale with an augmented fourth and fifth, or as the relative to the melodic minor ascending scale (C Lydian augmented and A melodic minor ascending share the same notes). | https://en.wikipedia.org/wiki/Lydian_augmented_scale |
In music, the Phrygian dominant scale is the fifth mode of the harmonic minor scale, the fifth being the dominant. Also called the altered Phrygian scale, dominant flat 2 flat 6 (in jazz), or Freygish scale (also spelled Fraigish). It resembles the Phrygian mode but with a major third, rather than a minor third. In the Berklee method, it is known as the Mixolydian ♭9 ♭13 chord scale, a Mixolydian scale with a lowered 9th (2nd) and lowered 13th (6th), used in secondary dominant chord scales for V7/III and V7/VI. | https://en.wikipedia.org/wiki/Phrygian_major_scale |
In music, the Psalms chord is the opening chord of Igor Stravinsky's Symphony of Psalms. It is a "barking E minor triad" that is voiced "like no E-minor triad that was ever known before" – that is, in two highly separate groups, one in the top register and the other in the bottom register. The third of the E-minor triad, rather than the tonic, receives strong emphasis. It is common to both the octatonic scale and the Phrygian scale on E, and the contrasting sections of the first movement based on the scales are linked by statements of the Psalms chord.William W. Austin describes the Psalms chord in the following way: "The opening staccato blast, which recurs throughout the first movement, detached from its surroundings by silence, seems to be a perverse spacing of the E minor triad, with the minor third doubled in four octaves while the root and fifth appear only twice, at high and low extremes." | https://en.wikipedia.org/wiki/Psalms_chord |
In music, the Romanian minor scale or Ukrainian Dorian scale or altered Dorian scale is a musical scale or the fourth mode of the harmonic minor scale. It is "similar to the dorian mode, but with a tritone and variable sixth and seventh degrees". It is related to both the Freygish and Misheberak scales and is used in Jewish music, "predominant in klezmer bulgarish and doina (doyne)." "When the Ukrainian Dorian scale functions in the synagogue, it is a mode known as the Mi sheberach (May He Who Blessed) or Av horachamon (Compassionate Father). | https://en.wikipedia.org/wiki/Ukrainian_Dorian_scale |
Arab and Greek scholars give other names to the scale: Nikriz (نكريز) and Aulos, respectively. ""The pitches of the Mi Shebeyrekh mode correspond roughly to a Dorian mode with a raised fourth (for example, D, E, F, G♯, A, B, C, or if Katythian Enharmonic mode of Harmonic Minor ♭4:D♭, E, F, G♯, A, B, C); alternately, it could be described as a variant of the Lydian mode, deriving instead from the harmonic minor scale, rather than from the major scale. | https://en.wikipedia.org/wiki/Ukrainian_Dorian_scale |
Beregovski calls this pitch collection 'Ukrainian Dorian'. "The Ukrainian Dorian scale is used particularly extensively within Julian Cochran's music including the Romanian Dances and Mazurkas. | https://en.wikipedia.org/wiki/Ukrainian_Dorian_scale |
It has also been used by George Gershwin. Another example is the Bert Kaempfert tune "Sweet Maria".Also called the Ukrainian minor scale, it is a combined type of musical scale. It figures prominently in Eastern European music, particularly Klezmer music, and melodies based on this scale have an exotic, romantic flavor for listeners accustomed to more typical Western scales. | https://en.wikipedia.org/wiki/Ukrainian_Dorian_scale |
A Ukrainian minor scale in the key of C would proceed as follows: C D E♭ F♯ G A B♭. A Ukrainian minor scale in the key of B would proceed as follows: B C♯ D E♯ F♯ G♯ A. Its step pattern is w - h - + - h - w - h - w, where w indicates a whole step, h indicates a half step, and + indicates an augmented second, which looks like a minor third on a keyboard but is notationally distinct. Chords that may be derived from the scale based on B are Bm, C#7, D, E#dim7, F#m, G#m7b5 and Aaug. | https://en.wikipedia.org/wiki/Ukrainian_Dorian_scale |
This scale is obtainable from the harmonic minor scale by starting from the fourth of that scale. Said another way, the B Ukrainian minor scale is the fourth mode of the F# harmonic minor scale. When its tonic is lowered a semitone, we obtain the Katythian Enharmonic scale, the 4th mode of the Harmonic Minor ♭4 scale:B♭ C♯ D E♯ F♯ G♯ A/C♭ D E♭ F♯ G A B♭/C D♯ E F G♯ A♯ B. Chords that may be derived from the Katythian Enharmonic scale based on B♭ are Bbaug, C#6, D, Bb7, F#m, F#, Bbm, G#7sus2b5 and Aaug. Likewise, Chords that may be derived from the Katythian Enharmonic scale based on C♭ are Cbaug, D6, Eb, Cb7, Gm, G, Cbm, A7sus2b5, and Bbaug, and for the one based on C♮:Caug, D#6, E, C7, G#m, G#, Cm, A#7sus2b5, and Baug. | https://en.wikipedia.org/wiki/Ukrainian_Dorian_scale |
In music, the V–IV–I turnaround, or blues turnaround, is one of several cadential patterns traditionally found in the twelve-bar blues, and commonly found in rock and roll.The cadence moves from the tonic to dominant, to subdominant, and back to the tonic. "In a blues in A, the turnaround will consist of the chords E7, D7, A7, E7 ." V may be used in the last measure rather than I since, "nearly all blues tunes have more than one chorus (occurrence of the 12-bar progression), the turnaround (last four bars) usually ends on V, which makes us feel like we need to hear I again, thus bringing us around to the top (beginning) of the form again. ". | https://en.wikipedia.org/wiki/Blues_cadence |
In music, the acoustic scale, overtone scale, Lydian dominant scale (Lydian ♭7 scale), or the Mixolydian ♯4 scale is a seven-note synthetic scale. It is the fourth mode of the ascending melodic minor scale. This differs from the major scale in having an augmented fourth and a minor seventh scale degree. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F♯–G–A–B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F♯–G–A–B♭–C–D). | https://en.wikipedia.org/wiki/Lydian_dominant |
In music, the all-trichord hexachord is a unique hexachord that contains all twelve trichords, or from which all twelve possible trichords may be derived. The prime form of this set class is {012478} and its Forte number is 6-Z17. Its complement is 6-Z43 and they share the interval vector of <3,2,2,3,3,2>. It appears in pieces by Robert Morris and Elliott Carter. Carter uses all-interval twelve-tone sets consisting of all-trichord hexachords in his Symphonia: sum fluxae pretium spei. | https://en.wikipedia.org/wiki/All-trichord_hexachord |
In music, the axis system is a system of analysis originating in the work of Ernő Lendvai, which he developed in his analysis of the music of Béla Bartók. The axis system is "concerned with harmonic and tonal substitution", and posits a novel type of functional relationship between tones and chords. Lendvai's analyses aim to show how chords and tones related by the intervals of a minor third and tritone can function as tonal substitutes for one another, and do so in many of Bartók's compositions. | https://en.wikipedia.org/wiki/Axis_system |
In music, the bore of a wind instrument (including woodwind and brass) is its interior chamber. This defines a flow path through which air travels, which is set into vibration to produce sounds. The shape of the bore has a strong influence on the instrument's timbre. | https://en.wikipedia.org/wiki/Bore_(wind_instruments) |
In music, the cross motif is a motif. A motif (Crux fidelis) was used by Franz Liszt to represent the Christian cross ('tonisches Symbol des Kreuzes' or tonic symbol of the cross) and taken from Gregorian melodies. | https://en.wikipedia.org/wiki/Cross_motif |
In music, the distances between notes (intervals) are measured as ratios of their frequencies, with near-rational ratios often sounding harmonious. In western twelve-tone equal temperament, the ratio between consecutive note frequencies is 2 12 {\displaystyle {\sqrt{2}}} . The coincidence 2 19 ≈ 3 12 {\displaystyle 2^{19}\approx 3^{12}} , from log 3 log 2 = 1.5849 … ≈ 19 12 {\displaystyle {\frac {\log 3}{\log 2}}=1.5849\ldots \approx {\frac {19}{12}}} , closely relates the interval of 7 semitones in equal temperament to a perfect fifth of just intonation: 2 7 / 12 ≈ 3 / 2 {\displaystyle 2^{7/12}\approx 3/2} , correct to about 0.1%. The just fifth is the basis of Pythagorean tuning; the difference between twelve just fifths and seven octaves is the Pythagorean comma. | https://en.wikipedia.org/wiki/Mathematical_coincidence |
The coincidence ( 3 / 2 ) 4 = ( 81 / 16 ) ≈ 5 {\displaystyle {(3/2)}^{4}=(81/16)\approx 5} permitted the development of meantone temperament, in which just perfect fifths (ratio 3 / 2 {\displaystyle 3/2} ) and major thirds ( 5 / 4 {\displaystyle 5/4} ) are "tempered" so that four 3 / 2 {\displaystyle 3/2} 's is approximately equal to 5 / 1 {\displaystyle 5/1} , or a 5 / 4 {\displaystyle 5/4} major third up two octaves. The difference ( 81 / 80 {\displaystyle 81/80} ) between these stacks of intervals is the syntonic comma. The coincidence 2 12 5 7 = 1.33333319 … ≈ 4 3 {\displaystyle {\sqrt{2}}{\sqrt{5}}=1.33333319\ldots \approx {\frac {4}{3}}} leads to the rational version of 12-TET, as noted by Johann Kirnberger. | https://en.wikipedia.org/wiki/Mathematical_coincidence |
The coincidence 5 8 35 3 = 4.00000559 … ≈ 4 {\displaystyle {\sqrt{5}}{\sqrt{35}}=4.00000559\ldots \approx 4} leads to the rational version of quarter-comma meantone temperament. The coincidence of powers of 2, above, leads to the approximation that three major thirds concatenate to an octave, ( 5 / 4 ) 3 ≈ 2 / 1 {\displaystyle {(5/4)}^{3}\approx {2/1}} . This and similar approximations in music are called dieses. | https://en.wikipedia.org/wiki/Mathematical_coincidence |
In music, the dominant 7♯9 chord ("dominant seven sharp nine" or "dominant seven sharp ninth") is a chord built by combining a dominant seventh, which includes a major third above the root, with an augmented second, which is the same pitch, albeit given a different note name, as the minor third degree above the root. This chord is used in many forms of contemporary popular music, including jazz, funk, R&B, rock and pop. As a dominant chord in diatonic harmony, it most commonly functions as a turnaround chord, returning to the tonic. The chord is also sometimes colloquially known, among pop and rock guitarists, as the "Hendrix chord" or "Purple Haze chord", nicknamed for guitarist Jimi Hendrix, who showed a preference for the chord and did a great deal to popularize its use in mainstream rock music. When used by The Beatles it has been called the "Gretty chord" although this can refer to a distinct six-string version. | https://en.wikipedia.org/wiki/Dominant_seventh_sharp_ninth_chord |
In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the dominant because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)". The triad built on the dominant note is called the dominant chord. | https://en.wikipedia.org/wiki/Dominant_function |
This chord is said to have dominant function, which means that it creates an instability that requires the tonic for resolution. Dominant triads, seventh chords, and ninth chords typically have dominant function. | https://en.wikipedia.org/wiki/Dominant_function |
Leading-tone triads and leading-tone seventh chords may also have dominant function. In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these. The scheme I-x-V-I symbolizes, though naturally in a very summarizing way, the harmonic course of any composition of the Classical period. This x, usually appearing as a progression of chords, as a whole series, constitutes, as it were, the actual "music" within the scheme, which through the annexed formula V-I, is made into a unit, a group, or even a whole piece. | https://en.wikipedia.org/wiki/Dominant_function |
In music, the dynamics of a piece are the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. | https://en.wikipedia.org/wiki/Dynamics_(music) |
In music, the fifth factor of a chord is the note or pitch that is the fifth scale degree, counting the root or tonal center. When the fifth is the bass note, or lowest note, of the expressed chord, the chord is in second inversion . Conventionally, the fifth is second in importance to the root, with the fifth being perfect in all primary triads (I, IV, V and i, iv, v). | https://en.wikipedia.org/wiki/Fifth_(chord) |
In jazz chords and theory however, the fifth is often omitted, or assumed, in preference for the chord quality determining third and chord extensions and additions. The fifth in a major and minor chord is perfect (G♮ in C). When the fifth of a major chord is raised it is an augmented chord (G♯ in C) . When the fifth of a minor chord is lowered it is a diminished chord (G♭ in C) . The open fifth and power chord consists of only the root, fifth and their octave doublings. | https://en.wikipedia.org/wiki/Fifth_(chord) |
In music, the four harmonic Pythagorean tones play a prominent role in the pentatonic scale, particularly on the first, fourth, fifth, and eighth degrees of diatonic scales (especially in major and minor) and in the composition of cadences as fundamental tones of tonic, subdominant, and dominant. This sequence of tones often appears in cadences with the corresponding chords: The four Pythagorean tones appear in many compositions. The first tones of the medieval antiphons "Ad te levavi" and "Factus est repente" consist essentially of the four Pythagorean tones, apart from some ornaments and high notes. Another example is the beginning of the Passacaglia in C minor by Johann Sebastian Bach. The theme consists of fifteen tones, of which a total of ten tones and especially the last four tones are derived from the sequence. | https://en.wikipedia.org/wiki/Pythagorean_hammers |
In music, the fundamental is the musical pitch of a note that is perceived as the lowest partial present. The fundamental may be created by vibration over the full length of a string or air column, or a higher harmonic chosen by the player. The fundamental is one of the harmonics. A harmonic is any member of the harmonic series, an ideal set of frequencies that are positive integer multiples of a common fundamental frequency. | https://en.wikipedia.org/wiki/Fundamental_tone |
The reason a fundamental is also considered a harmonic is because it is 1 times itself.The fundamental is the frequency at which the entire wave vibrates. Overtones are other sinusoidal components present at frequencies above the fundamental. All of the frequency components that make up the total waveform, including the fundamental and the overtones, are called partials. | https://en.wikipedia.org/wiki/Fundamental_tone |
Together they form the harmonic series. Overtones which are perfect integer multiples of the fundamental are called harmonics. | https://en.wikipedia.org/wiki/Fundamental_tone |
When an overtone is near to being harmonic, but not exact, it is sometimes called a harmonic partial, although they are often referred to simply as harmonics. Sometimes overtones are created that are not anywhere near a harmonic, and are just called partials or inharmonic overtones. The fundamental frequency is considered the first harmonic and the first partial. | https://en.wikipedia.org/wiki/Fundamental_tone |
The numbering of the partials and harmonics is then usually the same; the second partial is the second harmonic, etc. But if there are inharmonic partials, the numbering no longer coincides. Overtones are numbered as they appear above the fundamental. So strictly speaking, the first overtone is the second partial (and usually the second harmonic). As this can result in confusion, only harmonics are usually referred to by their numbers, and overtones and partials are described by their relationships to those harmonics. | https://en.wikipedia.org/wiki/Fundamental_tone |
In music, the lament bass is a ground bass, built from a descending perfect fourth from tonic to dominant, with each step harmonized. The diatonic version is the upper tetrachord from the natural minor scale, known as the Phrygian tetrachord, while the chromatic version, the chromatic fourth, has all semitones filled in. It is often used in music to denote tragedy or sorrow.However, "A common misperception exists that the 'lament bass' of Venetian opera became so prevalent that it immediately swept away all other possible affective associations with this bass pattern...To cite but one example, Peter Holman, writing about Henry Purcell, once characterized the minor tetrachord as 'the descending ground that was associated with love in seventeenth-century opera'." | https://en.wikipedia.org/wiki/Lament_bass |
In music, the main goal of 5.1 surround sound is a proper localization and equability of all acoustic sources for a center-positioned audience. Therefore, ideally five matched speakers should be used. | https://en.wikipedia.org/wiki/5.1_channel |
In music, the major Locrian scale, also called the Locrian major scale, is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G♭ A♭ B♭. It can be described as a whole tone scale extending from G♭ to E, with F introduced within the diminished third interval from E to G♭. The scale therefore shares with the Locrian mode the property of having a diminished fifth above the tonic. | https://en.wikipedia.org/wiki/Major_Locrian_scale |
It can also be the natural minor scale or Aeolian mode with raised third and lowered fifth intervals. It may also be derived from the Phrygian Dominant scale, but this time, the second is major, while the fifth is diminished. | https://en.wikipedia.org/wiki/Major_Locrian_scale |
In English, Arabian scale may refer to what is known as the major Locrian scale. A version of the major Locrian scale is listed as mode 3 in the French translation of Safi Al-Din's treatise Kitab Al-Adwar. This was a Pythagorean version of the scale. | https://en.wikipedia.org/wiki/Major_Locrian_scale |
Aside from this Arabic version, interest in the major Locrian is a phenomenon of the twentieth century, but the scale is definable in any meantone system. It is notable as one of the five proper seven-note scales in equal temperament, and as strictly proper in any meantone tuning with fifths flatter than 700 cents. If we take the tonic in the scale given above to be G♭ rather than C, we obtain the leading whole-tone scale, which with a tonic on C is C–D–E–F♯–G♯–A♯–B; this can equally well be characterized as one of the five proper seven-note scales of equal temperament. | https://en.wikipedia.org/wiki/Major_Locrian_scale |
The major Locrian scale is the 5th mode of the Neapolitan major scale, which may be used in conjunction with the Neapolitan chord, but is not limited to it. This scale is also known as melodic minor ♭2. Its modes and corresponding seventh chords are: Neapolitan major; CmM7 (add ♭9, 11, and 13) (Dorian mode with major seventh and minor second) leading whole-tone; D♭M7♯5 (add 9, ♯11, and ♯13) (Phrygian mode with major sixth and diminished unison) (whole-tone scale plus major seventh) Lydian dominant augmented; E♭7♯5 (add 9, ♯11, and 13) (Lydian mode with augmented fifth and minor seventh) (whole-tone scale plus major sixth) Lydian minor; F7 (add 9, ♯11, and ♭13) (Mixolydian mode with augmented fourth and minor sixth) (whole-tone scale plus natural fifth) major Locrian; G7♭5 (add 9, 11, and ♭13) (Aeolian mode with major third and diminished fifth) (whole-tone scale plus natural fourth) altered dominant major 2nd; Am7♭5 (add 9, ♭11, and ♭13) (Locrian mode with major second and diminished fourth) (whole-tone scale plus minor third) altered dominant diminished 3rd; B7♭5 (add ♭9, ♮9, and ♭13) (Ionian mode with minor third and augmented unison) (whole-tone scale plus ♭9)The major Locrian scale has only two perfect fifths, but it has in some sense a complete cycle of thirds if one is willing to count a diminished third as a third: four major thirds, two minor thirds and a diminished third making up two octaves. In 12-equal temperament, the diminished third is enharmonically equivalent to a major second, but in other meantone systems it is wider and more nearly like a third. | https://en.wikipedia.org/wiki/Major_Locrian_scale |
In music, the major Neapolitan scale and the minor Neapolitan scale are two musical scales. Both scales are minor, in that they both contain the note a minor third above the root. The major and minor Neapolitan scales are instead differentiated by the quality of their sixth. The sequence of scale steps for the Neapolitan minor is as follows: 1 ♭2 ♭3 4 5 ♭6 7 8 A B♭ C D E F G♯ A And for the Neapolitan major: 1 ♭2 ♭3 4 5 6 7 8 A B♭ C D E F♯ G♯ A The scales are distinguished from the harmonic and ascending melodic minor scales by the lowered supertonic or second scale degree. | https://en.wikipedia.org/wiki/Neapolitan_minor_scale |
This could also be known as the "Phrygian harmonic minor" or "Phrygian melodic minor." The scale therefore shares with the Phrygian mode the property of having a minor second above the tonic. | https://en.wikipedia.org/wiki/Neapolitan_minor_scale |
Both are accompanied well by power or minor chords.The 4th mode of the Neapolitan major, also known as the Lydian Dominant ♭6 scale, is an excellent choice for the 9♯11/♭13 (no 5) chord. Said mode contains all the alterations plus the ♮5. A whole tone scale is often used but that mode tends to be minus the ♮5 that the Lydian Minor contains. The 5th mode of the Neapolitan major is also known as the major Locrian scale. | https://en.wikipedia.org/wiki/Neapolitan_minor_scale |
In music, the minor diatonic semitone is a ratio of 17:16, making it the seventeenth harmonic or partial. This is in contrast to the 5-limit major diatonic semitone of 16/15. | https://en.wikipedia.org/wiki/Seventeenth_harmonic |
In music, the mystic chord or Prometheus chord is a six-note synthetic chord and its associated scale, or pitch collection; which loosely serves as the harmonic and melodic basis for some of the later pieces by Russian composer Alexander Scriabin. Scriabin, however, did not use the chord directly but rather derived material from its transpositions. When rooted in C, the mystic chord consists of the pitch classes: C, F♯, B♭, E, A, D. This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths. However, the chord may be spelled in a variety of ways, and it is related to other pitch collections, such as being a hexatonic subset of the overtone scale, lacking the perfect fifth. | https://en.wikipedia.org/wiki/Prometheus_scale |
In music, the organ is a keyboard instrument of one or more pipe divisions or other means for producing tones. The organs have usually two or three, up to five manuals, for playing with the hands, and pedalboard, with the feet. With the use of registers, several groups of pipes can be connected to one manual. | https://en.wikipedia.org/wiki/Church_organ |
In music, the septimal major third , also called the supermajor third (by Hermann von Helmholtz among others), septimal supermajor third, and sometimes Bohlen–Pierce third is the musical interval exactly or approximately equal to a just 9:7 ratio of frequencies, or alternately 14:11. It is equal to 435 cents, sharper than a just major third (5:4) by the septimal quarter tone (36:35) (). In 24-TET the septimal major third is approximated by 9 quarter tones, or 450 cents (). Both 24 and 19 equal temperament map the septimal major third and the septimal narrow fourth (21:16) to the same interval. | https://en.wikipedia.org/wiki/Septimal_major_third |
This interval has a characteristic brassy sound which is much less sweet than a pure major third, but is classed as a 9-limit consonance. Together with the root 1:1 and the perfect fifth of 3:2, it makes up the septimal major triad, or septimal supermajor triad . However, in terms of the overtone series, this is a utonal rather than otonal chord, being an inverted 6:7:9, i.e. a 9⁄9:9⁄7:9⁄6 chord. | https://en.wikipedia.org/wiki/Septimal_major_third |
The septimal major triad can also be represented by the ratio 14:18:21. The septimal major triad contains an interval of a septimal minor third between its third and fifth ( 3:2 / 9:7 = 7:6 ). Similarly, the septimal major third is the interval between the third and the fifth of the septimal minor triad. | https://en.wikipedia.org/wiki/Septimal_major_third |
In the early meantone era the interval made its appearance as the alternative major third in remote keys, under the name diminished fourth. Tunings of the meantone fifth in the neighborhood of Zarlino's 2⁄7-comma meantone will give four septimal thirds among the twelve major thirds of the tuning; this entails that three septimal major triads appear along with one chord containing a septimal major third with an ordinary minor third above it, making up a wolf fifth. | https://en.wikipedia.org/wiki/Septimal_major_third |
22 equal temperament has a very close match to this interval. In this temperament, four fifths minus two octaves equals a septimal major third, not an ordinary major third. == References == | https://en.wikipedia.org/wiki/Septimal_major_third |
In music, the septimal minor third, also called the subminor third (e.g., by Ellis) or septimal subminor third, is the musical interval exactly or approximately equal to a 7/6 ratio of frequencies. In terms of cents, it is 267 cents, a quartertone of size 36/35 flatter than a just minor third of 6/5. In 24-tone equal temperament five quarter tones approximate the septimal minor third at 250 cents (). A septimal minor third is almost exactly two-ninths of an octave, and thus all divisions of the octave into multiples of nine (72 equal temperament being the most notable) have an almost perfect match to this interval. | https://en.wikipedia.org/wiki/Septimal_minor_third |
The septimal major sixth, 12/7, is the inverse of this interval. The septimal minor third may be derived in the harmonic series from the seventh harmonic, and as such is in inharmonic ratios with all notes in the regular 12TET scale, with the exception of the fundamental and the octave. It has a darker but generally pleasing character when compared to the 6/5 third. | https://en.wikipedia.org/wiki/Septimal_minor_third |
A triad formed by using it in place of the minor third is called a "septimal minor" or "subminor triad" . In the meantone era the interval made its appearance as the alternative minor third in remote keys, under the name augmented second. Tunings of the meantone fifth in the neighborhood of quarter-comma meantone will give three septimal minor thirds among the twelve minor thirds of the tuning; since the wolf fifth appears with an ordinary minor third, this entails there are three septimal minor triads, eight ordinary minor triads and one triad containing the wolf fifth arising from an ordinary minor third followed by a septimal major third. | https://en.wikipedia.org/wiki/Septimal_minor_third |
Composer Ben Johnston uses a small "7" as an accidental to indicate a note is lowered 49 cents, or an upside down seven ("ㄥ") to indicate a note is raised 49 cents.The position of this note also appears on the scale of the Moodswinger. Yuri Landman indicated the harmonic positions of his instrument in a color dotted series. The septimal minor third position is cyan blue as well as the other knotted positions of the seventh harmonic (5/7, 4/7, 3/7, 2/7 and 1/7 of the string length of the open string). | https://en.wikipedia.org/wiki/Septimal_minor_third |
In music, the septimal semicomma, a seven-limit semicomma, is the ratio 126/125 and is equal to approximately 13.79 cents (). It is also called the small septimal comma and the starling comma after its use in starling temperament. Factored into primes it is: 2 ∗ 3 2 ∗ 5 − 3 ∗ 7 {\displaystyle 2*3^{2}*5^{-3}*7} Or as simple just intervals: ( 6 / 5 ) 3 ∗ ( 7 / 6 ) ∗ ( 2 / 1 ) − 1 {\displaystyle (6/5)^{3}*(7/6)*(2/1)^{-1}} Thus it is the difference between three minor thirds of 6/5 plus a septimal minor third of 7/6 and an octave (2/1). This comma is important to certain tuning systems, such as septimal meantone temperament. A diminished seventh chord consisting of three minor thirds and a subminor third making up an octave is possible in such systems. This characteristic feature of these tuning systems is known as the septimal semicomma diminished seventh chord. | https://en.wikipedia.org/wiki/Septimal_semicomma |
In music, the septimal whole tone, septimal major second, or supermajor second is the musical interval exactly or approximately equal to an 8/7 ratio of frequencies. It is about 231 cents wide in just intonation. 24 equal temperament does not match this interval particularly well, its nearest representation being at 250 cents, approximately 19 cents sharp. The septimal whole tone may be derived from the harmonic series as the interval between the seventh and eighth harmonics and the term septimal refers to the fact that it utilizes the seventh harmonic. | https://en.wikipedia.org/wiki/Septimal_whole_tone |
It can also be thought of as the octave inversion of the 7/4 interval, the harmonic seventh. No close approximation to this interval exists in the standard 12 equal temperament used in most modern western music. The very simple 5 equal temperament is the smallest system to match this interval well. | https://en.wikipedia.org/wiki/Septimal_whole_tone |
26 equal temperament matches this interval almost perfectly with an error of only 0.4 cents, but at the cost of the significant flatness of its major thirds and fifths. 31 equal temperament, which has much more accurate fifths and major thirds, approximates 8/7 with a slightly higher error of 1.1 cents. == References == | https://en.wikipedia.org/wiki/Septimal_whole_tone |
In music, the term abstraction can be used to describe improvisatory approaches to interpretation, and may sometimes indicate abandonment of tonality. Atonal music has no key signature, and is characterized by the exploration of internal numeric relationships. | https://en.wikipedia.org/wiki/Abstract_thinking |
In music, the term open string refers to the fundamental note of the unstopped, full string. The strings of a guitar are normally tuned to fourths (excepting the G and B strings in standard tuning, which are tuned to a third), as are the strings of the bass guitar and double bass. Violin, viola, and cello strings are tuned to fifths. However, non-standard tunings (called scordatura) exist to change the sound of the instrument or create other playing options. | https://en.wikipedia.org/wiki/Tuning_systems |
To tune an instrument, often only one reference pitch is given. This reference is used to tune one string, to which the other strings are tuned in the desired intervals. On a guitar, often the lowest string is tuned to an E. From this, each successive string can be tuned by fingering the fifth fret of an already tuned string and comparing it with the next higher string played open. | https://en.wikipedia.org/wiki/Tuning_systems |
This works with the exception of the G string, which must be stopped at the fourth fret to sound B against the open B string above. Alternatively, each string can be tuned to its own reference tone. Note that while the guitar and other modern stringed instruments with fixed frets are tuned in equal temperament, string instruments without frets, such as those of the violin family, are not. The violin, viola, and cello are tuned to beatless just perfect fifths and ensembles such as string quartets and orchestras tend to play in fifths based Pythagorean tuning or to compensate and play in equal temperament, such as when playing with other instruments such as the piano. For example, the cello, which is tuned down from A220, has three more strings (four total) and the just perfect fifth is about two cents off from the equal tempered perfect fifth, making its lowest string, C−, about six cents more flat than the equal tempered C. This table lists open strings on some common string instruments and their standard tunings from low to high unless otherwise noted. | https://en.wikipedia.org/wiki/Tuning_systems |
In music, the term slap tonguing refers to a musician playing a single-reed instrument such as a clarinet or a saxophone employing a technique to produce a popping sound along with the note. | https://en.wikipedia.org/wiki/Slap_tonguing |
In music, the term swing has two main uses. Colloquially, it is used to describe the propulsive quality or "feel" of a rhythm, especially when the music prompts a visceral response such as foot-tapping or head-nodding (see pulse). This sense can also be called "groove". It is also known as shuffle. The term swing, as well as swung note(s) and swung rhythm, is also used more specifically to refer to a technique (most commonly associated with jazz but also used in other genres) that involves alternately lengthening and shortening the first and second consecutive notes in the two part pulse-divisions in a beat. | https://en.wikipedia.org/wiki/Swung_note |
In music, the terms Afro/cosmic disco, the cosmic sound, free-style sound, and combinations thereof (Afro, cosmic Afro, Afro-cosmic, Afro-freestyle, etc., as well as Afro-funky and later Afro house) are used somewhat interchangeably to describe various forms of synthesizer-heavy and/or African-influenced dance music and methods of DJing that were originally developed and promoted by a small number of DJs in certain discothèques of Northern Italy from the late 1970s through the mid-1980s. The terms slow-motion disco and Elettronica Meccanica are also associated with the genre. Italian DJs Tosi Brandi Claudio and Daniele Baldelli both independently claim to have invented the genre and mixing style. | https://en.wikipedia.org/wiki/Afro/cosmic_music |
In music, the terms additive and divisive are used to distinguish two types of both rhythm and meter: A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units. This can be contrasted with additive rhythm, in which larger periods of time are constructed by concatenating (joining end to end) a series of units into larger units of unequal length, such as a 58 meter produced by the regular alternation of 28 and 38. When applied to meters, the terms perfect and imperfect are sometimes used as the equivalents of divisive and additive, respectively .For example, 4 may be evenly divided by 2 or reached by adding 2 + 2. In contrast, 5 is only evenly divisible by 5 and 1 and may be reached by adding 2 or 3. | https://en.wikipedia.org/wiki/Divisive_rhythm |
Thus, 48 (or, more commonly, 24) is divisive while 58 is additive. The terms additive and divisive originate with Curt Sachs's book Rhythm and Tempo (1953), while the term aksak rhythm was introduced for the former concept at about the same time by Constantin Brăiloiu, in agreement with the Turkish musicologist Ahmet Adnan Saygun. | https://en.wikipedia.org/wiki/Divisive_rhythm |
The relationship between additive and divisive rhythms is complex, and the terms are often used in imprecise ways. In his article on rhythm in the second edition of the New Grove Dictionary of Music and Musicians, Justin London states that: n discussions of rhythmic notation, practice or style, few terms are as confusing or used as confusedly as 'additive' and 'divisive'. … These confusions stem from two misapprehensions. | https://en.wikipedia.org/wiki/Divisive_rhythm |
The first is a failure to distinguish between systems of notation (which may have both additive and divisive aspects) and the music notated under such a system. The second involves a failure to understand the divisive and additive aspects of meter itself. Winold recommends that, "metric structure is best described through detailed analysis of pulse groupings on various levels rather than through attempts to represent the organization with a single term".Sub-Saharan African music and most European (Western) music is divisive, while Indian and other Asian musics may be considered as primarily additive. However, many pieces of music cannot be clearly labeled divisive or additive. | https://en.wikipedia.org/wiki/Divisive_rhythm |
In music, the third factor of a chord is the note or pitch two scale degrees above the root or tonal center. When the third is the bass note, or lowest note, of the expressed triad, the chord is in first inversion. | https://en.wikipedia.org/wiki/Minor_tenth |
In music, the three-key exposition is a particular kind of exposition used in sonata form. Normally, a sonata form exposition has two main key areas. The first asserts the primary key of the piece, that is, the tonic. The second section moves to a different key, establishes that key firmly, arriving ultimately at a cadence in that key. For the second key, composers normally chose the dominant for major-key sonatas, and the relative major (or less commonly, the minor-mode dominant) for minor-key sonatas. The three-key exposition moves not directly to the dominant or relative major, but indirectly via a third key; hence the name. | https://en.wikipedia.org/wiki/Three-key_exposition |
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as do. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. | https://en.wikipedia.org/wiki/Tonal_center |
Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor. In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary (often triadic) harmonies: tonic, dominant, and subdominant (i.e., I and its chief auxiliaries a 5th removed), and especially the first two of these. These chords may also appear as seventh chords: in major, as IM7, or in minor as i7 or rarely iM7: The tonic is distinguished from the root, which is the reference note of a chord, rather than that of the scale. | https://en.wikipedia.org/wiki/Tonal_center |
In music, the undertone series or subharmonic series is a sequence of notes that results from inverting the intervals of the overtone series. While overtones naturally occur with the physical production of music on instruments, undertones must be produced in unusual ways. While the overtone series is based upon arithmetic multiplication of frequencies, resulting in a harmonic series, the undertone series is based on arithmetic division. | https://en.wikipedia.org/wiki/Undertone_series |
In music, the vi–ii–V–I progression is a chord progression (also called the circle progression for the circle of fifths, along which it travels). A vi–ii–V–I progression in C major (with inverted chords) is shown below. It is "undoubtedly the most common and the strongest of all harmonic progressions" and consists of "adjacent roots in ascending fourth or descending fifth relationship", with movement by ascending perfect fourth being equivalent to movement by descending perfect fifth due to inversion. For instance, in C major, the chords are Am–Dm–G–C, which have roots that descend by perfect fifth (or ascend by fourth), as shown below. | https://en.wikipedia.org/wiki/Circle_progression |
In music, the ♭VII–V7 cadence is a cadence using the chord progression from the subtonic (♭VII) to the dominant seventh (V7). It resolves to I making the full cadence ♭VII–V7–I. A "mainstay in all rock styles of the '60s", the cadence, heard perhaps most canonically (and often) in Billy J. Kramer's "Little Children", can also be found in such hits as Otis Redding's "(Sittin' On) The Dock of the Bay", Link Wray and His Ray Men's "Rumble", Duane Eddy's "Because They're Young", the Velvet Underground & Nico's "Sunday Morning" and "Femme Fatale", Joan Baez's "Fare Thee Well", and Al Caiola's 1961 "The Magnificent Seven" (0:15-0:17) and "Bonanza" (0:26-0:27). | https://en.wikipedia.org/wiki/♭VII–V7_cadence |
In music, there are two common meanings for tuning: Tuning practice, the act of tuning an instrument or voice. Tuning systems, the various systems of pitches used to tune an instrument, and their theoretical bases. | https://en.wikipedia.org/wiki/Tempered_tuning |
In music, they are known as "accolades" or "braces", and connect two or more lines (staves) of music that are played simultaneously. | https://en.wikipedia.org/wiki/Right_parenthesis |
In music, timbre (), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or tone. Timbre distinguishes different types of sound production, such as choir voices and musical instruments. It also enables listeners to distinguish different instruments in the same category (e.g., an oboe and a clarinet, both woodwind instruments). In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. | https://en.wikipedia.org/wiki/Timbre |
For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctively with its own unique tone color. Experienced musicians are able to distinguish between different instruments of the same type based on their varied timbres, even if those instruments are playing notes at the same fundamental pitch and loudness. | https://en.wikipedia.org/wiki/Timbre |
The physical characteristics of sound that determine the perception of timbre include frequency spectrum and envelope. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques. For example, a violinist can use different bowing styles or play on different parts of the string to obtain different timbres (e.g., playing sul tasto produces a light, airy timbre, whereas playing sul ponticello produces a harsh, even and aggressive tone). On electric guitar and electric piano, performers can change the timbre using effects units and graphic equalizers. | https://en.wikipedia.org/wiki/Timbre |
In music, tonal memory or "aural recall" is the ability to remember a specific tone after it has been heard. Tonal memory assists with staying in tune and may be developed through ear training. Extensive tonal memory may be recognized as an indication of potential compositional ability.Tonal memory may be used as a strategy for learning to identify musical tones absolutely. | https://en.wikipedia.org/wiki/Tonal_memory |
Although those who attempt the strategy believe they are learning absolute pitch, the ability is generally not musically useful, and their absolute tonal memory declines substantially or completely over time if not constantly reinforced.When listening to music, tones are stored in short-term memory as they are heard. This allows sequences of tones, such as melodies, to be followed and understood. There is evidence that a specialized short-term memory system exists for tones, and that it is distinct from short-term verbal memory. | https://en.wikipedia.org/wiki/Tonal_memory |
In music, transcription is the practice of notating a piece or a sound which was previously unnotated and/or unpopular as a written music, for example, a jazz improvisation or a video game soundtrack. When a musician is tasked with creating sheet music from a recording and they write down the notes that make up the piece in music notation, it is said that they created a musical transcription of that recording. Transcription may also mean rewriting a piece of music, either solo or ensemble, for another instrument or other instruments than which it was originally intended. The Beethoven Symphonies transcribed for solo piano by Franz Liszt are an example. | https://en.wikipedia.org/wiki/Musical_transcription |
Transcription in this sense is sometimes called arrangement, although strictly speaking transcriptions are faithful adaptations, whereas arrangements change significant aspects of the original piece. Further examples of music transcription include ethnomusicological notation of oral traditions of folk music, such as Béla Bartók's and Ralph Vaughan Williams' collections of the national folk music of Hungary and England respectively. The French composer Olivier Messiaen transcribed birdsong in the wild, and incorporated it into many of his compositions, for example his Catalogue d'oiseaux for solo piano. | https://en.wikipedia.org/wiki/Musical_transcription |
Transcription of this nature involves scale degree recognition and harmonic analysis, both of which the transcriber will need relative or perfect pitch to perform. In popular music and rock, there are two forms of transcription. Individual performers copy a note-for-note guitar solo or other melodic line. | https://en.wikipedia.org/wiki/Musical_transcription |
As well, music publishers transcribe entire recordings of guitar solos and bass lines and sell the sheet music in bound books. Music publishers also publish PVG (piano/vocal/guitar) transcriptions of popular music, where the melody line is transcribed, and then the accompaniment on the recording is arranged as a piano part. The guitar aspect of the PVG label is achieved through guitar chords written above the melody. Lyrics are also included below the melody. | https://en.wikipedia.org/wiki/Musical_transcription |
In music, transposition refers to the process or operation of moving a collection of notes (pitches or pitch classes) up or down in pitch by a constant interval. The shifting of a melody, a harmonic progression or an entire musical piece to another key, while maintaining the same tone structure, i.e. the same succession of whole tones and semitones and remaining melodic intervals. For example, one might transpose an entire piece of music into another key. Similarly, one might transpose a tone row or an unordered collection of pitches such as a chord so that it begins on another pitch. The transposition of a set A by n semitones is designated by Tn(A), representing the addition (mod 12) of an integer n to each of the pitch class integers of the set A. Thus the set (A) consisting of 0–1–2 transposed by 5 semitones is 5–6–7 (T5(A)) since 0 + 5 = 5, 1 + 5 = 6, and 2 + 5 = 7. | https://en.wikipedia.org/wiki/Transpositionally_equivalent |
In music, underlay refers to text intended for vocalization – positioned either directly or indirectly under notes on a musical staff. == References == | https://en.wikipedia.org/wiki/Underlay |
In music, unified field is the 'unity of musical space' created by the free use of melodic material as harmonic material and vice versa. The technique is most associated with the twelve-tone technique, created by its 'total thematicism' where a tone-row (melody) generates all (harmonic) material. It was also used by Alexander Scriabin, though from a diametrically opposed direction, created by his use of extremely slow harmonic rhythm which eventually led to his use of unordered pitch-class sets, usually hexachords (of six pitches) as harmony from which melody may also be created.It may also be observed in Igor Stravinsky's Russian period, such as in Les Noces, derived from his use of folk melodies as generating material and influenced by shorter pieces by Claude Debussy, such as Voiles, and Modest Mussorgsky. In Béla Bartók's Bagatelles, and several of Alfredo Casella's Nine Piano Pieces such as No. 4 'In Modo Burlesco' the close intervallic relationship between motive and chord creates or justifies the great harmonic dissonance. Webern was the only one...who was conscious of a new sound-dimension, of the abolition of horizontal-vertical opposition, so that he saw in the series only a way of giving structure to the sound-space....That functional redistribution of intervals toward which he tended marks an extremely important moment in the history of language. | https://en.wikipedia.org/wiki/Unified_field |
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. Rhythmic unison is another term for homorhythm. | https://en.wikipedia.org/wiki/Unison |
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these. | https://en.wikipedia.org/wiki/Theme_and_variations |
In music, when writing chord sheets, single vertical bars associated with a colon (|: A / / / :|) represents the beginning and end of a section (e.g. Intro, Interlude, Verse, Chorus) of music. Single bars can also represent the beginning and end of measures (|: A / / / | D / / / | E / / / :|). A double vertical bar associated with a colon can represent the repeat of a given section (||: A / / / :|| - play twice). | https://en.wikipedia.org/wiki/¦ |
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