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The consonance and dissonance of different intervals plays an important role in establishing the tonality of a piece or section in common practice music and popular music. For example, for a simple folk music song in the key of C Major, almost all of the triadic chords in the song will be Major or minor chords which are stable and consonant (e ...
Major/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel minor), specifying the keynote (as C major/minor).). This is a very unusual form in tonal music, [1] [2] although examples became more common in the nineteenth century
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. ISBN 9780520067479. Antokoletz, Elliott. 2004.
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music. Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale. [1]
A significant earlier example of the use of 'progressive tonality' by a British composer is the First Symphony by Havergal Brian. This huge six-movement, two-part work begins with a sonata movement in D minor whose second-subject area is initially D-flat, becoming C-sharp; this moves to E in the matching portion of the recapitulation.
Example of polytonality or extended tonality from Milhaud's Saudades do Brasil (1920), right hand in B major and left hand in G major, or both hands in extended G major [2] Other polytonal composers influenced by Stravinsky include those in the French group, Les Six , particularly Darius Milhaud , as well as Americans such as Aaron Copland .
In European art music, the common practice period was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.
In modern music, the closeness of a relation between any two keys or sets of pitches may be determined by the number of tones they share in common, which allows one to consider modulations not occurring in standard major-minor tonality. For example, in music based on the pentatonic scale containing pitches C, D, E, G, and A, modulating a fifth ...