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In music, flat means lower in pitch. It may either be used generically, meaning any lowering of pitch, or refer to a particular size: lowering pitch by a chromatic semitone . A flat is the opposite of a sharp ( ♯ ) which raises pitch by the same amount that a flat lowers it.
In music, sharp – eqv. dièse (from French) or diesis (from Greek δίεσις) [a] – means higher in pitch. The sharp symbol, ♯, indicates that the note to which the symbol is applied is played one semitone higher. The opposite of sharp is flat, indicating a lowering of pitch.
Demiflat / Half flat Lowers the pitch of a note by one quarter tone. (Another notation for the demiflat is a flat with a diagonal slash through its stem. In systems where pitches are divided into intervals smaller than a quarter tone, the slashed flat represents a lower note than the reversed flat.) Flat-and-a-half (sesquiflat)
m. 2: G ♮ (with courtesy accidental), G ♭, G ♭ (the flat carries over) m. 3: G ♭ (which is tied from the previous note), G ♯, G ♮ (the natural sign cancels the sharp sign) Though this convention is still in use particularly in tonal music, it may be cumbersome in music that features frequent accidentals, as is often the case in ...
One or "a" (indefinite article), as exemplified in the following entries un poco or un peu (Fr.) A little una corda One string (i.e., in piano music, depressing the soft pedal, which alters and reduces the volume of the sound). For most notes in modern pianos, this results in the hammer striking two strings rather than three.
In music, the subtonic is the degree of a musical scale which is a whole step below the tonic note. In a major key , it is a lowered, or flattened, seventh scale degree ( ♭ ). It appears as the seventh scale degree in the natural minor and descending melodic minor scales but not in the major scale .
For example, C to D (major second) is a step, whereas C to E (major third) is a skip. More generally, a step is a smaller or narrower interval in a musical line, and a skip is a wider or larger interval with the categorization of intervals into steps and skips is determined by the tuning system and the pitch space used.
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's "Thy Hand, Belinda" from Dido and Aeneas (1689) with figured bass), which features eleven of twelve pitches while chromatically descending by half steps, [1] the missing pitch being sung later.