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literally "with the voice". An instruction, in a choral or orchestral part, that a vocal part should be followed, e.g., play the same notes as the vocal part and accommodate the tempo, expression, etc. of the vocalist coloratura Coloration (i.e. elaborate ornamentation of a vocal line, or a soprano voice that is well-suited to such elaboration)
According to Andranik Tangian, [7] analytical phrasing can be quite subjective, the only point is that it should follow a certain logic. For example, Webern’s Klangfarbenmelodie-styled orchestral arrangement of Ricercar from Bach’s Musical offering demonstrates Webern’s analytical phrasing of the theme, which is quite subjective on the one hand but, on the other hand, logically consistent:
Period built of two five-bar phrases in Haydn's Feldpartita in B ♭, Hob. II:12. [1] Diagram of a period consisting of two phrases [2] [3] [4]. In music theory, a phrase (Greek: φράση) is a unit of musical meter that has a complete musical sense of its own, [5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.
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 ...
It has influenced popular music singing styles. [10] Presentinge line was characterized a slow, drawn-out heterophonic and often profusely ornamented melody, while a clerk or precentor (song leader) chanted the text line by line before it was sung by the congregation. Scottish Gaelic psalm-singing by prepresentinge line was the earliest form of ...
In June 1948, Columbia Records released the first 33 1/3 LP – “long-playing record” – from what is now known as the New York Philharmonic.The 12-inch vinyl slates – as opposed to its ...
C-major and G-major are keys whose 1st scale degrees are separated by a musical fifth (the pattern of relations is represented in the circle of fifths" for major keys). A-minor and C-major share the same notes of the scale but with a different tonic (so-called relative minor key, i.e. C-major and A-minor). And C-major and C-minor have the same ...
A tie is a curved line connecting two notes of the same pitch, thereby creating a durational value equal to the sum of the values of the two notes. This is necessary when a note is to be sustained over a bar line, and under certain conditions, within the same measure. [6] [a]