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On guitar, sweep-picking is a technique used for rapid arpeggiation, which is most often found in rock music and heavy metal music. Along with scales, arpeggios are a form of basic technical exercise that students use to develop intonation and technique. They can also be used in call and response ear training dictations, either alone or in ...
A variety of musical terms is encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.
The fundamental line itself originates as an arpeggiation of the tonic chord, filled by passing tones: In accordance with the arpeggiation from which it stems, the fundamental line exhibits the space of a third, fifth, or octave. These spaces are filled by passing tones. [1]
Concert photography is the photography of activities relating to concerts and music. It encompasses photographs of a band or musician as well as coverage of a concert. It is a minor commercial endeavor that supports in part of the efforts for many independent photographers. The photographer will be able to travel around different venues. [1]
First-order arpeggiation. Arpeggiated motion leading to the primary tone of the fundamental line. The term has been proposed by Forte & Gilbert. [7] See also Schenkerian analysis: Initial ascent, initial arpeggiation. Foreground (German: Vordergrund) See Structural level. Free Composition (German: freier Satz)
Graphic representations form an important part of Schenkerian analyses: "the use of music notation to represent musical relationships is a unique feature of Schenker's work". [30] Schenkerian graphs are based on a "hierarchic" notation, where the size of the notes, their rhythmic values and/or other devices indicate their structural importance.
The fundamental line (German: Urlinie) is the melodic aspect of the Fundamental structure , "a stepwise descent from one of the triad notes to the tonic" with the bass arpeggiation being the harmonic aspect. [3] The fundamental line fills in the spaces created by the descending arpeggiation of the tonic triad.
The resulting time-chroma representation is also referred to as chromagram. The figure above shows chromagrams for a C-major scale, once obtained from a musical score and once from an audio recording. Because of the close relation between the terms chroma and pitch class, chroma features are also referred to as pitch class profiles.