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In music and jazz improvisation, a melodic pattern (or motive) is a cell or germ serving as the basis for repetitive pattern. It is a figure that can be used with any scale . It is used primarily for solos because, when practiced enough, it can be extremely useful when improvising .
Printable version; In other projects Wikidata item; Appearance. move to sidebar hide ... (1879) [5] "Chant à la lune", incidental music to Salammb ...
The figured bass is the same as the descending 5-6 sequence, but the bass itself follows an ascending pattern rather than a descending pattern. [8] Image of the ascending 5-6 sequence in music. The use of a similar 5-6 pattern outside of sequence is fairly common and is called 5-6 technique.
Rumba Sequence, music completely different from the Cuban Overture; (I've Got) Beginner's Luck (dance), written to accompany a scene of Astaire's rehearsing to a "record" which eventually skips; They Can't Take That Away from Me: this sequence is in the form of a foxtrot, one of Gershwin's favorites from the score;
Print/export Download as PDF; Printable version; In other projects ... Pages in category "Sequel songs" The following 72 pages are in this category, out of 72 total.
Scene and sequel are two types of written passages used by authors to advance the plot of a story. Scenes propel a story forward as the character attempts to achieve a goal. [ 1 ] Sequels provide an opportunity for the character to react to the scene, analyze the new situation, and decide upon the next course of action.
The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale , but differs from it by also involving an element of melody type .
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
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