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In music, four note group patterns, alternately called "four-note digital patterns" [1] or simply "four note patterns", are one of many ways to formulate improvised solos in jazz. "Four-Note Grouping is an improvisation technique that uses major and minor triads along with specific passing notes as a means of generating lines.
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 ...
Prosody is also important in signalling emotions and attitudes. When this is involuntary (as when the voice is affected by anxiety or fear), the prosodic information is not linguistically significant. However, when the speaker varies their speech intentionally, for example to indicate sarcasm, this usually involves the use of prosodic features.
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
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]
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]
Emotional prosody or affective prosody is the various paralinguistic aspects of language use that convey emotion. [1] It includes an individual's tone of voice in speech that is conveyed through changes in pitch, loudness, timbre, speech rate, and pauses.