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In music, voice crossing is the intersection of melodic lines in a composition, leaving a lower voice on a higher pitch than a higher voice (and vice versa). Because this can cause registral confusion and reduce the independence of the voices, [ 1 ] it is sometimes avoided in composition and pedagogical exercises.
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]
broad transcriptions; for example in some languages, / e̞ / and / o̞ / maybe described as ɛ̝ and ɔ̝ , also / ə / maybe described as ɘ̞ or ɜ̝ ɪ ʊ a ɒ: without diacritics central vowels: ɪ̈ ʊ̈ ä ɒ̈: broad transcriptions; in some English dialects, / ä / often described as ɑ̈ in English for / ɑ / c or ȼ c or stroked c
Later, Cohn pointed out that neo-Riemannian concepts arise naturally when thinking about certain problems in voice leading. [6] [7] For example, two triads (major or minor) share two common tones and can be connected by stepwise voice leading the third voice if and only if they are linked by one of the L, P, R transformations described above. [8]
A word search, word find, word seek, word sleuth or mystery word puzzle is a word game that consists of the letters of words placed in a grid, which usually has a rectangular or square shape. The objective of this puzzle is to find and mark all the words hidden inside the box.
Most commonly, the change is a result of sound assimilation with an adjacent sound of opposite voicing, but it can also occur word-finally or in contact with a specific vowel. For example, the English suffix -s is pronounced [s] when it follows a voiceless phoneme (cats), and [z] when it follows a voiced phoneme (dogs). [1]
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In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The tenor voice sings G ♯ while the bass sings G ♮ momentarily beneath it, producing the clash of an augmented unison. Ex. 2, typical example of a false relation in the Late Baroque Style. Play ⓘ