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In music theory, pitch-class space is the circular space representing all the notes (pitch classes) in a musical octave. In this space, there is no distinction between tones separated by an integral number of octaves. For example, C4, C5, and C6, though different pitches, are represented by the same point in pitch class space.
The simplest pitch space model is the real line. A fundamental frequency f is mapped to a real number p according to the equation = + (/) This creates a linear space in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and middle C is assigned the number 60, as it is in MIDI. 440 Hz is the standard frequency of 'concert A', which ...
Similarity relation Play ⓘ. 047 followed by 047t and 0478, respectively. 047t and 0478 are in the relation R p, as they are with ten other sets. [1]In music, a similarity relation or pitch-class similarity is a comparison between sets of the same cardinality (two sets containing the same number of pitch classes), based upon shared pitch class and/or interval class content.
The fundamental concept of musical set theory is the (musical) set, which is an unordered collection of pitch classes. [4] More exactly, a pitch-class set is a numerical representation consisting of distinct integers (i.e., without duplicates). [5]
Bonnet roof: A reversed gambrel or Mansard roof with the lower portion at a lower pitch than the upper portion. Monitor roof: A roof with a monitor; 'a raised structure running part or all of the way along the ridge of a double-pitched roof, with its own roof running parallel with the main roof.'
In music theory, a set class (an abbreviation of pitch-class-set class) is an ascending collection of pitch classes, transposed to begin at zero. For a list of ordered collections, see this list of tone rows and series. Sets are listed with links to their complements.
Transformational theory is a branch of music theory developed by David Lewin in the 1980s, and formally introduced in his 1987 work, Generalized Musical Intervals and Transformations. The theory—which models musical transformations as elements of a mathematical group —can be used to analyze both tonal and atonal music .
Each point on the lattice corresponds to a ratio (i.e., a pitch, or an interval with respect to some other point on the lattice). The lattice can be two-, three-, or n-dimensional, with each dimension corresponding to a different prime-number partial [pitch class]." [1] When listed in a spreadsheet a lattice may be referred to as a tuning table.