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A false sequence is a literal repetition of the beginning of a figure and stating the rest in sequence: [1] J.S. Bach Prelude from Cello Suite in G J.S. Bach Prelude from Cello Suite in G, BWV 1007. A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some ...
The ordered sequence C-C ♯-D would be notated 0,1,2 or (0,1,2). Although C is considered zero in this example, this is not always the case. For example, a piece (whether tonal or atonal) with a clear pitch center of F might be most usefully analyzed with F set to zero (in which case {0,1,2} would represent F, F ♯ and G.
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 ...
The tones are equal-amplitude sine waves, and the sequence is played repeatedly without pause at a rate of four tones per second. When listening to the illusion over headphones , most right-handers hear a melody corresponding to the higher tones as on the right and a melody corresponding to the lower tones as on the left.
The defining characteristic of dynamic tonality is that a given rank-2 temperament (as defined by a period α, a generator β, and a comma sequence) [7] is used to generate, in real time during performance, the same set of intervals [2] among: A pseudo-just tuning's notes; A pseudo-harmonic timbre's partials; and
Kyrie "orbis factor", in mode 1 (Dorian) with B ♭ on scale-degree 6, descends from the reciting tone, A, to the final, D, and uses the subtonium (tone below the final). After the reciting tone, every mode is distinguished by scale degrees called "mediant" and "participant". The mediant is named from its position between the final and reciting ...
For example, the pitch content within spoken syllables generally changes dynamically, while the pitches of musical notes tend to be stable and the notes tend to be of longer duration. For this reason, theories of the brain substrates of speech and song perception have invoked explanations in terms of the acoustic features involved. [ 7 ]
This test used melodic sequences in a pitch memory test that is formed on the delayed-tone recognition paradigm. [9] The results of the test showed that many factors such as interference tone, degree of tonality, and tonal fitness of comparison tone showed to be a key factor in how listeners performed in the task. [9]