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In music and music theory, a hexatonic scale is a scale with six pitches or notes per octave. Famous examples include the whole-tone scale, ...
Example of Hauer's tropes. [8] Play ⓘ. Allen Forte in The Structure of Atonal Music [9] redefines the term hexachord to mean what other theorists (notably Howard Hanson in his Harmonic Materials of Modern Music: Resources of the Tempered Scale [10]) mean by the term hexad, a six-note pitch collection which is not necessarily a contiguous segment of a scale or a tone row.
Some scales use a different number of pitches. A common scale in Eastern music is the pentatonic scale, which consists of five notes that span an octave. For example, in the Chinese culture, the pentatonic scale is usually used for folk music and consists of C, D, E, G and A, commonly known as gong, shang, jue, chi and yu. [14] [15]
For example, a group of piano miniatures (Op. 58, Op. 59/2, Op. 61, Op. 63, Op. 67/1 and Op. 69/1) are governed by the acoustic and/or the octatonic scales. [ 9 ] Contrary to many textbook descriptions of the chord, which present the sonority as a series of superposed fourths, Scriabin most often manipulated the voicings to produce a variety of ...
Modes of limited transposition are musical modes or scales that fulfill specific criteria relating to their symmetry and the repetition of their interval groups. These scales may be transposed to all twelve notes of the chromatic scale, but at least two of these transpositions must result in the same pitch classes, thus their transpositions are "limited".
The H relation (LPL) exchanges a triad for its hexatonic pole (C major and A ♭ minor) [5] Any combination of the L, P, and R transformations will act inversely on major and minor triads: for instance, R-then-P transposes C major down a minor third, to A major via A minor, whilst transposing C minor to E ♭ minor up a minor 3rd via E ♭ major.
In music, the "Ode-to-Napoleon" hexachord (also magic hexachord [3] and hexatonic collection [4] or hexatonic set class) [5] is the hexachord named after its use in the twelve-tone piece Ode to Napoleon Buonaparte Op. 41 (1942) by Arnold Schoenberg (setting a text by Byron).
A major feature of the blues scale is the use of blue notes—notes that are played or sung microtonally, at a slightly higher or lower pitch than standard. [5] However, since blue notes are considered alternative inflections, a blues scale may be considered to not fit the traditional definition of a scale. [6]
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