Search results
Results from the WOW.Com Content Network
Diagram of treble, alto, and bass clefs with identical-sounding musical notes aligned vertically Middle C represented on (from left to right) treble, alto, tenor, and bass clefs Three clefs aligned to middle C. A clef (from French: clef 'key') is a musical symbol used to indicate which notes are represented by the lines and spaces on a musical ...
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
Period built of two five-bar phrases in Haydn's Feldpartita in B ♭, Hob. II:12. [1] Diagram of a period consisting of two phrases [2] [3] [4]. In music theory, a phrase (Greek: φράση) is a unit of musical meter that has a complete musical sense of its own, [5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.
This page was last edited on 22 December 2024, at 00:43 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
For example, C 6/9 is C–E–G–A–D. It is not a tense chord requiring resolution, and is considered a substitute for the tonic in jazz. The minor 6/9 chord is a minor triad with an added 6th and 9th, evoking the Dorian mode, and is also suitable as a minor tonic in jazz. [17] The second degree is octave equivalent to the ninth.
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 ♭, G ♯ /A ♭, D ♯ /E ♭, A ♯ /B ♭, F ...
Before either (1960–67), Elliott Carter had produced a numbered listing of pitch class sets, or "chords", as Carter referred to them, for his own use. [ 5 ] [ 6 ] Donald Martino had produced tables of hexachords , tetrachords , trichords , and pentachords for combinatoriality in his 1961 article, "The Source Set and its Aggregate Formations".
Pitch class set theory, however, has adhered to formal definitions of equivalence." [ 1 ] Traditionally, octave equivalency is assumed, while inversional , permutational , and transpositional equivalency may or may not be considered ( sequences and modulations are techniques of the common practice period which are based on transpositional ...