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In music theory, retrograde inversion is a musical term that literally means "backwards and upside down": "The inverse of the series is sounded in reverse order." [1] Retrograde reverses the order of the motif's pitches: what was the first pitch becomes the last, and vice versa. [2]
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
In that regard, a musical permutation is a combinatorial permutation from mathematics as it applies to music. Permutations are in no way limited to the twelve-tone serial and atonal musics, but are just as well utilized in tonal melodies especially during the 20th and 21st centuries, notably in Rachmaninoff 's Variations on the Theme of ...
In music theory, an inversion is a rearrangement of the top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music. [2] In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory.
Different-pointing stems indicate the voice for polyphonic music written on the same staff. Within one voice, the stems usually point down for notes on the middle line or higher, and up for those below. If the stem points up from a notehead, the stem originates from the right-hand side of the note, but if it points down, it originates from the ...
The inverse of a given fragment of melody is the fragment turned upside down—so if the original fragment has a rising major third (see interval), the inverted fragment has a falling major (or perhaps minor) third, etc. (Compare, in twelve-tone technique, the inversion of the tone row, which is the so-called prime series turned upside down ...
Retrograde was not mentioned in theoretical treatises prior to 1500. [2] Nicola Vicentino (1555) discussed the difficulty in finding canonic imitation: "At times, the fugue or canon cannot be discovered through the systems mentioned above, either because of the impediment of rests, or because one part is going up while another is going down, or because one part starts at the beginning and the ...
Broken down, crushed; the sounding of the notes of a chord not quite simultaneously, but from bottom to top acciaccatura Crushing (i.e. a very fast grace note that is "crushed" against the note that follows and takes up no value in the measure) accidental A note that is not part of the scale indicated by the key signature. accompagnato