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Euler's Tonnetz. The Tonnetz originally appeared in Leonhard Euler's 1739 Tentamen novae theoriae musicae ex certissismis harmoniae principiis dilucide expositae.Euler's Tonnetz, pictured at left, shows the triadic relationships of the perfect fifth and the major third: at the top of the image is the note F, and to the left underneath is C (a perfect fifth above F), and to the right is A (a ...
A possible reason for this broader usage of terms "tonality" and "tonal" is the attempt to translate German "Tonart" as "tonality" and "Tonarten-" prefix as "tonal" (for example, it is rendered so in the seminal New Grove article "Mode", [61] etc.). Therefore, two different German words "Tonart" and "Tonalität" have sometimes been translated ...
Theory of Harmony, translated by Roy E. Carter. Berkeley and Los Angeles: University of California Press. ISBN 0-520-04945-4 (cloth); ISBN 0-520-04944-6 (pbk). Sigman, Mitchell. 2011. Steal This Sound. [full citation needed] ISBN 9781423492818. Stuckenschmidt, Hans Heinz. 1970. Ferruccio Busoni: Chronicle of a European. London: Calder & Boyars.
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]
A suspension (SUS) (sometimes referred to as a syncope) [9] occurs when the harmony shifts from one chord to another, but one or more notes of the first chord (the preparation) are either temporarily held over into or are played again against the following chord (against which they are nonchord tones called the suspension) before resolving ...
In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in Classical music theory.
List of pieces using polytonality and/or bitonality.. Samuel Barber. Symphony No. 2 (1944) [citation needed]; Béla Bartók. Mikrokosmos Volume 5 number 125: The opening (mm. 1-76) of "Boating", (actually bimodality) in which the right hand uses pitches of E ♭ dorian and the left hand uses those of either G mixolydian or dorian [1]
Unlike most tonal and non-tonal linear dissonances, tone clusters are essentially static. The individual pitches are of secondary importance; it is the sound mass that is foremost." [ 5 ] One French composer active in this period whose music takes a sound-mass approach directly influenced by both Debussy and Varèse is Maurice Ohana .