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The three types of contrast are rhythmic contrast, melodic contrast, and harmonic contrast. [1] Procedures of contrast include stratification, juxtaposition, and interpolation. Procedures of connection include gradation, amalgamation, and dissolution. is an example. Harmonic contrast means to have a change in keys or chords or even cadences.
Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. [3] [4] capo 1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
In music, form refers to the structure of a musical composition or performance.In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of ...
In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
Use caution with successive accented perfect fifths or octaves. They must not be used as part of a sequential pattern. The example shown is weak due to similar motion in the second measure in both voices. A good rule to follow: if one voice skips or jumps try to use step-wise motion in the other voice or at the very least contrary motion.
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[4] For example, if an excerpt from a piece of music implies or uses a C-major chord, then the notes C, E and G are members of that chord, while any other note played at that time (e.g., notes such as F ♯) is a nonchord tone. Such tones are most obvious in homophonic music but occur at least as frequently in contrapuntal music.