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The texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices (see Common types below). For example, a thick texture contains many ...
Expand coverage of music theory topics in Wikipedia. Establish a basic set of guidelines for music theory articles. Recruit Wikipedians into the music theory project. Scope The scope of this WikiProject includes: The mechanics of music and how music works. Elements of music such as melody, harmony, rhythm, pitch, texture, etc.
These differences in string thickness follow from well-understood acoustic properties of strings. Given two strings, equally taut and heavy, one twice as long as the other, the longer will vibrate with a pitch one octave lower than the shorter. However, if one were to use this principle to design a piano, i.e. if one began with the highest ...
For example, Berklee Music Theory - Book 2 recommends the following accompaniment for a given lead sheet, [2] while this progression does not occur in common practice theory since all the chords are seventh chords and unprepared dissonant. Accompaniment acceptable in the Berklee method [2] but not in common practice theory. Play ⓘ
A set class (an abbreviation of pitch-class-set class) in music theory is an ascending collection of pitch classes, transposed to begin at zero. For a list of ordered collections, see: list of tone rows and series. Sets are listed with links to their complements. The prime form of unsymmetrical sets is marked "A".
Hexachordal combinatoriality is a concept in post-tonal theory that describes the combination of hexachords, often used in reference to the music of the Second Viennese school. In music that consistently utilizes all twelve chromatic tones (particularly twelve-tone and serial music ), the aggregate (collection of all 12 pitch classes) may be ...
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.
Heinrich Schenker (19 June 1868 – 14 January 1935) was an Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. [1] His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, Neue musikalische Theorien und Phantasien (New Musical Theories and Phantasies), which included Harmony (1906), Counterpoint (1910 ...