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However, any transposition of each of these scales is a valid example of the corresponding mode. In other words, transposition preserves mode. [59] Interval sequences for each of the modern modes, showing the relationship between the modes as a shifted grid of intervals.
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 Phrygian mode (pronounced / ˈ f r ɪ dʒ i ə n /) can refer to three different musical modes: the ancient Greek tonos or harmonia, sometimes called Phrygian, formed on a particular set of octave species or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter.
George Enescu, for example, includes Lydian-mode passages in the second and third movements of his 1906 Decet for Winds, Op. 14. [9] An example from the middle of the century is the scherzo movement of Carlos Chávez's Symphony No. 3 (1951–54).
In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode. (The Hypomixolydian mode of medieval music, by contrast, has no modern ...
A plagal mode (from Greek πλάγιος 'oblique, sideways, athwart') [7] [8] has a range that includes the octave from the fourth below the final to the fifth above. The plagal modes are the even-numbered modes 2, 4, 6 and 8, and each takes its name from the corresponding odd-numbered authentic mode with the addition of the prefix "hypo-": Hypodorian, Hypophrygian, Hypolydian, and ...
Ajnas (the equivalent of modern-day modes) in old Persian traditional music. Originally by Abd al-Qadir Maraghi, as published in the book by Farhad Fakhreddini. In traditional Arabic music theory, a jins (Arabic: جنس, pl. أجناس, ajnās) is a set of three, four, or five stepwise pitches used to build an Arabic maqam, or melodic mode.