Search results
Results from the WOW.Com Content Network
Andrews, H. K. 2001. "Whole-Tone Scale". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Antokoletz, Elliott. 1984. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley and Los Angeles: University of California Press.
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.
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
Minor tone (10:9) Play ⓘ. In Western music theory, a major second (sometimes also called whole tone or a whole step) is a second spanning two semitones (Play ⓘ).A second is a musical interval encompassing two adjacent staff positions (see Interval number for more details).
Virtually all published works after 1953 (exceptions include his Mass, and the twelve-tone technique used rarely follows Schoenberg's system) Karlheinz Stockhausen Drei Lieder for alto voice and chamber orchestra, Nr. 1/10 (1950) [ 11 ]
While the overall atmosphere is restrained and devout in feeling, the harmony underpinning the music is experimental, including an extensive use of the whole-tone scale. [37] While the composer uses familiar chorale and hymn tunes, the overall impression aurally is of an unsettled tonal language.
A jazz scale is any musical scale used in jazz.Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic (or diminished), and the modes of the ascending melodic minor.
The whole-tone and octatonic scales have enjoyed quite widespread use since the turn of the 20th century, particularly by Debussy (the whole-tone scale) and Stravinsky (the octatonic scale). The symmetry inherent in these modes (which means no note can be perceived as the tonic ), together with certain rhythmic devices, Messiaen described as ...