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These 24 Preludes are based on a seven-note scale consisting of the six notes of the whole–tone scale with the addition of the perfect fourth [254] The sequence includes preludes in D#, G# and A#, which are normally considered theoretical keys as their key signatures include double sharps. Michelle Gorrell [255]
Franz Schubert's Trout Quintet and Antonín Dvořák's Piano Quintet No. 2 are both in A major. Johannes Brahms, César Franck, and Gabriel Fauré wrote violin sonatas in A major. In connection to Beethoven's Kreutzer Sonata, Peter Cropper said that A major "is the fullest sounding key for the violin." [2]
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
The bass note may be specified after a /, for example C/G is a C major chord with a G bass. Where a capo is indicated, there is little standardisation. For example, after capo 3 , most music sheets will write A to indicate a C chord, that is, they give the chord shape rather than its pitch, but some specify it as C, others give two lines ...
A-sharp, A ♯ or A# may refer to: A-sharp major, enharmonic to B-flat major; A-sharp minor; A♯ (musical note), musical pitch; A Sharp (.NET), a port of the Ada programming language to the .NET environment; A Sharp (Axiom), a programming language for the Axiom computer algebra system
Such labeling requires the choice of a "first" note; hence scale-degree labels are not intrinsic to the scale itself, but rather to its modes. For example, if we choose A as tonic, then we can label the notes of the C major scale using A = 1, B = 2, C = 3, and so on. When we do so, we create a new scale called the A minor scale.
This note lies a chromatic semitone above A and a diatonic semitone below B, thus being enharmonic to B ♭ (French: si bémol). When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the A ♯ above middle C is approximately 466.164Hz. [1] See pitch (music) for a discussion of historical ...
[1] [2] For example, to get the frequency one semitone up from A 4 (A ♯ 4), multiply 440 Hz by the twelfth root of two. To go from A 4 up two semitones (one whole tone ) to B 4 , multiply 440 twice by the twelfth root of two (or once by the sixth root of two, approximately 1.122462).