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Andrews, H. K. 2001. "Whole-Tone Scale". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Antokoletz, Elliott. 1984. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley and Los Angeles: University of California Press.
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
The two whole-tone scales as a symmetrical partitioning of the chromatic scale; [1] if C=0 then the top stave has even (02468t) and the bottom has odd (13579e) pitches. In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone.
A Picardy third, Picardy cadence (ˈpɪkərdi ) or, in French, tierce picarde is a harmonic device used in Western classical music. It refers to the use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key. piatti Cymbals, generally meaning a pair of orchestral clashed cymbals piena
While the overall atmosphere is restrained and devout in feeling, the harmony underpinning the music is experimental, including an extensive use of the whole-tone scale. [37] While the composer uses familiar chorale and hymn tunes, the overall impression aurally is of an unsettled tonal language.
Minor tone (10:9) Play ⓘ. In Western music theory, a major second (sometimes also called whole tone or a whole step) is a second spanning two semitones (Play ⓘ).A second is a musical interval encompassing two adjacent staff positions (see Interval number for more details).
His 8 symphonies (see e.g. the article on Symphony No.1 (Op.33, 1958)) either use the twelve-tone technique, or serial techniques with other kinds of rows, or both [5] Lou Harrison. Rapunzel (1952) Symphony on G (1952) Josef Matthias Hauer. All works written after August 1919 (though the twelve-tone technique used is not Schoenberg's system)
Queen use word painting in many of their songs (in particular, those written by lead singer Freddie Mercury). In "Somebody to Love", each time the word "Lord" occurs, it is sung as the highest note at the end of an ascending passage. In the same piece, the lyrics "I've got no rhythm; I just keep losing my beat" fall on off beats to create the ...