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Download as PDF; Printable version; ... 12 — — — Hirajōshi scale: Hirajoshi scale on C. Play ... Neapolitan major scale on C. Play ...
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The pattern of whole and half steps characteristic of a major scale. The intervals from the tonic (keynote) in an upward direction to the second, to the third, to the sixth, and to the seventh scale degrees of a major scale are called major. [1] A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is:
"Mirror forms", P, R, I, and RI, of a tone row (from Arnold Schoenberg's Variations for Orchestra Op. 31, "Called mirror forms because...they are identical". [1]In music, a tone row or note row (German: Reihe or Tonreihe), also series or set, [2] is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both ...
An A major scale (arco and pizzicato) Beginning of an A major scale with vibrato; An A major scale played col legno; A double stop; Natural harmonics on the A string at the octave, octave, and a fifth and two octaves; An artificial (false) harmonic produced on the E string; Harmonic glissando on the A string; See media help for assistance with ...
12-tone equal temperament chromatic scale on C, one full octave ascending, notated only with sharps. Play ascending and descending ⓘ. 12 equal temperament (12-ET) [a] is the musical system that divides the octave into 12 parts, all of which are equally tempered (equally spaced) on a logarithmic scale, with a ratio equal to the 12th root of 2 (≈ 1.05946).
For instance, in the four-shape tradition used in the Sacred Harp and elsewhere, the notes of a C major scale are notated and sung [a] as follows: The C major scale in shape notes. A skilled singer experienced in a shape note tradition has developed a fluent triple mental association, which links a note of the scale, a shape, and a syllable.
The diatonic scale notes (above) and the non-scale chromatic notes (below) [13] Medieval theorists defined scales in terms of the Greek tetrachords. The gamut was the series of pitches from which all the Medieval "scales" (or modes , strictly) notionally derive, and it may be thought of as constructed in a certain way from diatonic tetrachords.
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