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One 1969 textbook defines the tone cluster as "an extra-harmonic clump of notes". [10] ... Be With You One Hour ... Music in America. New York: Random House. ...
Overlapping notes that play at the same time are exactly one octave apart, and each scale fades in and fades out so that hearing the beginning or end of any given scale is impossible. Shepard tone as of the root note A (A 4 = 440 Hz) Shepard scale, diatonic in C Major, repeated 5 times
In music, notes are distinct and isolatable sounds that act as the most basic building blocks for nearly all of music. This discretization facilitates performance, comprehension, and analysis. [1] Notes may be visually communicated by writing them in musical notation.
In 1974, Johnson also wrote program notes to accompany the piece. These notes are meant to be read while listening to the work, and they encourage the listener "not to allow the program notes to distract you from concentrating on the music. They are intended to increase your ability to concentrate on the piece, and not to distract from it."
Karlheinz Stockhausen lecturing on Klavierstück XI at Darmstadt, July 1957. Aleatoric music (also aleatory music or chance music; from the Latin word alea, meaning "dice") is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s).
The most common tuplet [9] is the triplet (German Triole, French triolet, Italian terzina or tripletta, Spanish tresillo).Whereas normally two quarter notes (crotchets) are the same duration as a half note (minim), three triplet quarter notes have that same duration, so the duration of a triplet quarter note is 2 ⁄ 3 the duration of a standard quarter note.
The Origin of Music: A Theory of the Universal Development of Music. Saskatoon: Greenwich-Meridian. ISBN 978-0-9124-2406-4; Gates, Henry Louis, and Evelyn Brooks Higginbotham. 2004. "Blind Tom", in African American Lives, 84–86. Oxford and New York: Oxford University Press. ISBN 0-19-516024-X. Goldman, Richard Franko. 1961.
As polyphony became more complex, notes other than B required alteration to avoid undesirable harmonic or melodic intervals (especially the augmented fourth, or tritone, that music theory writers referred to as diabolus in musica, i.e., "the devil in music"). Nowadays "ficta" is used loosely to describe any such un-notated accidentals.