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The whole-tone scale is a series of whole tones. It has two non-enharmonically equivalent positions: C D E F ♯ G ♯ A ♯ C and D ♭ E ♭ F G A B D ♭.It is ...
The word is taken from the Greek: ἑξάχορδος, compounded from ἕξ (hex, six) and χορδή (chordē, string [of the lyre], whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). [2] [3]
The two whole-tone scales as a symmetrical partitioning of the chromatic scale; [1] if C=0 then the top stave has even (02468t) and the bottom has odd (13579e) pitches. In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone.
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 ] Some scales span part of an octave; several such short scales are typically combined to form a scale spanning a full octave or more, and usually called with a ...
This tritone relationship between possible resolutions is important to Scriabin's harmonic language, and it is a property shared by the French sixth (also prominent in his work) of which the synthetic chord can be seen as an extension. The example below shows the mystic chord rewritten as a French sixth with notes A and D as extensions:
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]
The primary form of the tone row used in the Ode allows the triads of G minor, E ♭ minor, and B minor to easily appear. [ 7 ] [ failed verification ] The "Ode-to-Napoleon" hexa chord is the six-member set-class with the highest number of interval classes 3 and 4 [ 8 ] yet lacks 2s and 6s.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
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