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Simple melodic pattern. Play ⓘ Melodic sequence on the lines "Send her victorious," and "Happy and glorious," from "God Save the Queen" Play ⓘ In music and jazz improvisation, a melodic pattern (or motive) is a cell or germ serving as the basis for repetitive pattern. It is a figure that can be used with any scale.
In music, a sequence is the restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice. [1] It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music [1] (Classical period and Romantic music). Characteristics of sequences: [1]
A step-by-step introduction to the concept of rāga for beginners; Rajan Parrikar Music Archive – detailed analyses of rāgas backed by rare audio recordings; Comprehensive reference on rāgas; Hindustani Raga Sangeet Online A rare collection of more than 800 audio & video archives from 1902. Radio programs dedicated to famous ragas.
A melodic formula, ranging length from a short motif of a few notes to an entire melody, which is used as the basis for musical compositions. It differs from a mode, which simply sets forth a sequence of intervals (in Western music, half tones and whole tones), and from a scale (the notes of a mode in rising order of pitch), in that it is more specific: a melody type spells out actual ...
As the chords of a 12-bar blues follow a form, so does the melodic line. The melodic line might just be the melody of the piece or it might also include lyrics. The melody and lyrics frequently follow an AA'B form, meaning one phrase is played then repeated (perhaps with a slight alteration), then something new is played. [ 14 ]
The English word "measure", originally an exact or just amount of time, came to denote either a poetic rhythm, a bar of music, or else an entire melodic verse or dance [4] involving sequences of notes, words, or movements that may last four, eight or sixteen bars.
After producing a pattern of three beats to a bar at the outset, Beethoven disrupts it through syncopation in a number of ways: (1) By displacing the rhythmic emphasis to a weak part of the beat, as in the first violin part in bars 7–9: Beethoven, Symphony No. 3, beginning of first movement Beethoven Symphony No. 3, beginning of first movement
Sometimes melodic variation occurs simultaneously with the original. In Beethoven 's "Waldstein" piano sonata, the main second-subject theme of the opening movement, which is in sonata form , is heard in the pianist's left hand, while the right hand plays a decorated version.