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Circle of fifths showing major and minor keys. In music theory, the circle of fifths (sometimes also cycle of fifths) is a way of organizing pitches as a sequence of perfect fifths. Starting on a C, and using the standard system of tuning for Western music (12-tone equal temperament), the sequence is: C, G, D, A, E, B, F ♯ /G ♭, C ♯ /D ...
The minimal Ursatz: a line supported by an arpeggiation of the bass. Play ⓘ. In Schenkerian analysis, the fundamental structure (German: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental ...
Comparison of equal-tempered (black) and Pythagorean (green) intervals showing the relationship between frequency ratio and the intervals' values, in cents. Pythagorean tuning is a system of musical tuning in which the frequency ratios of all intervals are determined by choosing a sequence of fifths [2] which are "pure" or perfect, with ratio .
The figured bass is the same as the descending 5-6 sequence, but the bass itself follows an ascending pattern rather than a descending pattern. [8] Image of the ascending 5-6 sequence in music. The use of a similar 5-6 pattern outside of sequence is fairly common and is called 5-6 technique.
Major sixth. In music from Western culture, a sixth is a musical interval encompassing six note letter names or staff positions (see Interval number for more details), and the major sixth is one of two commonly occurring sixths. It is qualified as major because it is the larger of the two. The major sixth spans nine semitones.
A German sixth chord on the last beat of m. 96 in Scott Joplin 's "Binks' Waltz" (1905). [ 1 ] In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, [ 2 ] was further developed in the Baroque, and became a distinctive part of the musical ...
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" (all notes in the score) relates to an abstracted deep structure, the Ursatz. This primal structure is roughly the same for any tonal ...
The augmented scale, also known in jazz theory as the symmetrical augmented scale, [3] is so called because it can be thought of as an interlocking combination of two augmented triads an augmented second or minor third apart: C E G ♯ and E ♭ G B. It may also be called the "minor-third half-step scale", owing to the series of intervals produced.