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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 ...
The term Grand ballabile is used if nearly all participants (including principal characters) of a particular scene in a full-length work perform a large-scale dance. bar, or measure unit of music containing a number of beats as indicated by a time signature; also the vertical bar enclosing it barbaro
This is an alphabetically ordered list of sub-titles, nicknames and non-numeric titles that have been applied to classical music compositions of types that are normally identified only by some combination of number, key and catalogue number. These types of compositions include: symphony, concerto, sonata, and standard chamber music combinations ...
The continued repetition of a note or chord is expressed by a stroke or strokes across the stem, or above or below the note if it be a whole note or double whole note.The number of strokes denotes the subdivision of the written note into eighth notes, sixteenth notes, etc., unless the word tremolo or tremolando is added, in which case the repetition is as rapid as possible, without regard to ...
This category is for musical terms and terminology. Subcategories. This category has the following 8 subcategories, out of 8 total. ...
In writing about music, it is sometimes necessary to use musical symbols within the text, as opposed to a musical example that might interrupt the flow of the text. Some of these needs are answered by Template:Music. For longer examples, use <score> tags as described in Help:Score.
This nomenclature doesn't provide a term for more than one voice on the same pitch. A dropped voicing lowers one or more voices by an octave relative to the default state. Dropping the first voice is undefined—a drop-1 voicing would still have all voices in the same octave, simply making a new first voice.
According to music theorists David Beach and Ryan C. McClelland, "[t]he purpose of the secondary dominant is to place emphasis on a chord within the diatonic progression." [6] The secondary-dominant terminology is still usually applied even if the chord resolution is nonfunctional. For example, the V/ii label is still used even if the V/ii ...