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A false sequence is a literal repetition of the beginning of a figure and stating the rest in sequence: [1] J.S. Bach Prelude from Cello Suite in G J.S. Bach Prelude from Cello Suite in G, BWV 1007. A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some ...
The ordered sequence C-C ♯-D would be notated 0,1,2 or (0,1,2). Although C is considered zero in this example, this is not always the case. For example, a piece (whether tonal or atonal) with a clear pitch center of F might be most usefully analyzed with F set to zero (in which case {0,1,2} would represent F, F ♯ and G.
Special cases are called the real line R 1, the real coordinate plane R 2, and the real coordinate three-dimensional space R 3. With component-wise addition and scalar multiplication, it is a real vector space. The coordinates over any basis of the elements of a real vector space form a real coordinate space of the same dimension as that of the ...
A possible reason for this broader usage of terms "tonality" and "tonal" is the attempt to translate German "Tonart" as "tonality" and "Tonarten-" prefix as "tonal" (for example, it is rendered so in the seminal New Grove article "Mode", [61] etc.). Therefore, two different German words "Tonart" and "Tonalität" have sometimes been translated ...
For example, the root of chord ii, if tuned to a fifth above the dominant, would be a major whole tone (9:8) above the tonic. If tuned a just minor third (6:5) below a just subdominant degree of 4:3, however, the interval from the tonic would equal a minor whole tone (10:9). Meantone temperament reduces the difference between 9:8 and 10:9.
Euler's Tonnetz. The Tonnetz originally appeared in Leonhard Euler's 1739 Tentamen novae theoriae musicae ex certissismis harmoniae principiis dilucide expositae.Euler's Tonnetz, pictured at left, shows the triadic relationships of the perfect fifth and the major third: at the top of the image is the note F, and to the left underneath is C (a perfect fifth above F), and to the right is A (a ...
The simplest pitch space model is the real line. A fundamental frequency f is mapped to a real number p according to the equation = + (/) This creates a linear space in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and middle C is assigned the number 60, as it is in MIDI. 440 Hz is the standard frequency of 'concert A', which ...
This test used melodic sequences in a pitch memory test that is formed on the delayed-tone recognition paradigm. [9] The results of the test showed that many factors such as interference tone, degree of tonality, and tonal fitness of comparison tone showed to be a key factor in how listeners performed in the task. [9]
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