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For example, sixteenth notes in 4 4 are counted 1 e & a 2 e & a 3 e & a 4 e & a, using numbers for the quarter note, "&" for the eighth note, and "e" and "a" for the sixteenth note level. Triplets may be counted "1 tri ple 2 tri ple 3 tri ple 4 tri ple" and sixteenth note triplets "1 la li + la li 2 la li + la li". [3]
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.
The arrangements reflect musical idioms commonly found in 1970s urban culture, predominantly funk and jazz, though other styles including Caribbean music are also represented. The number-specific middle sections contain one of three different improvised instrumental solos over a basic progression, featuring steel drums (numbers 2, 4, 9 and 12 ...
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
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These are lists of songs.In music, a song is a musical composition for a voice or voices, performed by singing or alongside musical instruments. A choral or vocal song may be accompanied by musical instruments, or it may be unaccompanied, as in the case of a cappella songs.
Some of Maurice Ravel's music incorporated septuple meter: for example, the brief "Danse générale" from Part I of Daphnis et Chloé is in 7 4 (subdivided as 3 + 4), the finale of the Piano Trio freely alternates between 5 4 and 7 4, and the main theme of the finale of his Sonata for Violin and Cello is in "quasi 7 4" (notated as a recurring 2 ...
So in the key of C, the Nashville Number System notation: 1 4 1 5 represents a four-bar phrase in which the band would play a C major chord (one bar), an F major chord (one bar), a C major chord (one bar), and a G major chord (one bar). Here is an example of how two four-bar phrases can be formed to create a section of a song.