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Klangfarbenmelodie (German for "sound-color melody") is a musical concept that treats timbre as a melodic element. Arnold Schoenberg originated the idea. It has become synonymous with the technique of fragmenting a melodic line between different timbres.
In music, timbre (/ ˈ t æ m b ər, ˈ t ɪ m-, ˈ t æ̃-/), 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.
Meyer lists melody, rhythm, timbre, harmony, "and the like" [12] as principal elements of music, while Narmour lists melody, harmony, rhythm, dynamics, tessitura, timbre, tempo, meter, texture, "and perhaps others". [13] According to McClellan, two things should be considered, the quality or state of an element and its change over time. [14]
Timbre, also referred to as tone colour, defines the use of adjectives to describe distinctive sounds or voicing of various musical instruments or voices based on the way they are played or the sound of their material. It is important to observe changes in sounding technique and analyse emotions and moods incited by a given musical work.
Timbre is the perceived sound quality of a musical note, sound or tone. It may also refer to: Timbre (album), by Sophie B. Hawkins; Timbres magazine, a philately ...
A "register" of the human voice, such as whistle register, is a series of tones of like quality originating through operation of the larynx.The constituent tones result from similar patterns of vibration in the vocal folds, which can generate several different such patterns, each resulting in characteristic sounds within a particular range of pitches. [1]
A synonym for "melody" (as in the terms "melodic line"). (See also bassline). line in. In an audio context, a "line in" is a jack found on mixers, guitar amplifiers, and recording devices. The "line in" jack allows a performer to add an input into a mixer, amplifier, or recording device. line out
A bar from J. S. Bach's Fugue No. 17 in A-flat, BWV 862, from The Well-Tempered Clavier (Part I), an example of counterpoint.The two voices (melodies) on each staff can be distinguished by the direction of the stems and beams.