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Wah-wah (or wa-wa) is an imitative word (or onomatopoeia) for the sound of altering the resonance of musical notes to extend expressiveness, sounding much like a human voice saying the syllable wah. The wah-wah effect is a spectral glide , a "modification of the vowel quality of a tone".
The first tone of the Fundamental line. One of the three notes of the tonic triad, , or . See Schenkerian analysis:The fundamental line. Prolongation (German: Auskomponierung), Composing-out, Elaboration. The process in tonal music through which a pitch, interval, or consonant triad is able to govern spans of music when not physically sounding.
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 ...
A man afflicted with a disease that gives him a permanently sarcastic tone of voice, so that everything he says comes out sounding sarcastic, no matter how sincerely he means it. This sketch is presented as a medical case history told by Ray's psychiatrist (played by David Baddiel), who gives accounts of various situations in which Ray's ...
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]
Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. The style of voice leading will depend on the performing medium; for example, singing a large leap may be harder than playing it on piano. [2]
High; often refers to a particular range of voice, higher than a tenor but lower than a soprano alzate sordini Lift or raise the mutes (i.e. remove mutes) am Steg (Ger.) At the bridge (i.e. playing a bowed string instrument near its bridge, which produces a heavier, stronger tone); see sul ponticello amabile Amiable, pleasant ambitus
For example, Berklee Music Theory - Book 2 recommends the following accompaniment for a given lead sheet, [2] while this progression does not occur in common practice theory since all the chords are seventh chords and unprepared dissonant. Accompaniment acceptable in the Berklee method [2] but not in common practice theory. Play ⓘ