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In Baroque music, G major was regarded as the "key of benediction". [1] Of Domenico Scarlatti's 555 keyboard sonatas, G major is the home key for 69, or about 12.4%, sonatas. In the music of Johann Sebastian Bach, "G major is often a key of 6 8 chain rhythms", according to Alfred Einstein, [2] although Bach also used the key for some 4
This type of keyboard layout, known as the enharmonic keyboard, extended the flexibility of the harpsichord, enabling composers to write keyboard music calling for harmonies containing the so-called wolf fifth (G-sharp to E-flat), but without producing aural discomfort in the listeners (see Split sharp). The "broken octave", a variation of the ...
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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
Major Thirds (3–3–3–3): four symmetrical groups of notes a major third apart (3 notes per group) (Note that the whole tone scale (6–6) color scheme by itself is not very practical for the Wicki–Hayden layout since this pattern is already the basis for the physical layout of the keys—each row is a whole tone scale.
A similar keyboard was developed by Larry Hanson [4] in 1942 for use with a 53 tone scale but turns the fifth sideways and the major third to the right and up. Keyboard note layout of the Harmonetta. The modern layout was proposed in 1983 by inventor Peter Davies, who obtained an international patent for its use in instruments in 1990.
A Jankó keyboard. The Jankó keyboard is a musical keyboard layout for a piano designed by Paul von Jankó, a Hungarian pianist and engineer, in 1882.It was designed to overcome two limitations on the traditional piano keyboard: the large-scale geometry of the keys (stretching beyond a ninth, or even an octave, can be difficult or impossible for pianists with small hands), and the fact that ...
The generalized keyboard is one kind of symmetrical arrangement that represents pitches according to their relationship to each other – rather than their positions in specific scales such as in the familiar piano and organ keyboard – as well as in sequence of pitch, unlike arrangements such as duet systems for concertinas and the array ...