1.
Scale (music)
–
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is a scale. Some scales contain different pitches when ascending than when descending, for example, the Melodic minor scale. Due to the principle of equivalence, scales are generally considered to span a single octave. A musical scale represents a division of the space into a certain number of scale steps. A measure of the width of each scale step provides a method to classify scales, based on their interval patterns, scales are put into categories including diatonic, chromatic, major, minor, and others. A specific scale is defined by its interval pattern and by a special note. The tonic of a scale is the selected as the beginning of the octave. Typically, the name of the scale specifies both its tonic and its interval pattern, for example, C major indicates a major scale with a C tonic. Scales are typically listed from low to high, most scales are octave-repeating, meaning their pattern of notes is the same in every octave. An octave-repeating scale can be represented as an arrangement of pitch classes. The distance between two notes in a scale is called a scale step. The notes of a scale are numbered by their steps from the root of the scale, for example, in a C major scale the first note is C, the second D, the third E and so on. Two notes can also be numbered in relation to other, C and E create an interval of a third. A single scale can be manifested at many different pitch levels, for example, a C major scale can be started at C4 and ascending an octave to C5, or it could be started at C6, ascending an octave to C7. As long as all the notes can be played, the octave they take on can be altered, the pitch distances or intervals among the notes of a scale tell us more about the sound of the music than does the mere number of tones. The notes of a scale form intervals with each of the notes of the chord in combination. A 5-note scale has 10 of these intervals, a 6-note scale has 15, a 7-note scale has 21
2.
Pitch (music)
–
Pitch can be determined only in sounds that have a frequency that is clear and stable enough to distinguish from noise. Pitch is a major attribute of musical tones, along with duration, loudness. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property, Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but the two are not equivalent, frequency is an objective, scientific attribute that can be measured. Pitch is each persons subjective perception of a wave, which cannot be directly measured. However, this not necessarily mean that most people wont agree on which notes are higher and lower. Sound waves themselves do not have pitch, but their oscillations can be measured to obtain a frequency and it takes a sentient mind to map the internal quality of pitch. However, pitches are usually associated with, and thus quantified as frequencies in cycles per second, or hertz, by comparing sounds with pure tones, Complex and aperiodic sound waves can often be assigned a pitch by this method. According to the American National Standards Institute, pitch is the attribute of sound according to which sounds can be ordered on a scale from low to high. That is, high pitch means very rapid oscillation, and low pitch corresponds to slower oscillation, despite that, the idiom relating vertical height to sound pitch is shared by most languages. At least in English, it is just one of many deep conceptual metaphors that involve up/down, the exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the frequency is increased or reduced. The pitch of tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, Pitch depends to a lesser degree on the sound pressure level of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases, for instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible. Above 2,000 Hz, the pitch gets higher as the sound gets louder, theories of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into place coding, place theory holds that the perception of pitch is determined by the place of maximum excitation on the basilar membrane. However, a purely place-based theory cannot account for the accuracy of pitch perception in the low, temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus
3.
Semitone
–
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale, for example, C is adjacent to C♯, the interval between them is a semitone. In music theory, a distinction is made between a diatonic semitone, or minor second and a semitone or augmented unison. In twelve-tone equal temperament all semitones are equal in size, in other tuning systems, semitone refers to a family of intervals that may vary both in size and name. In quarter-comma meantone, seven of them are diatonic, and 117.1 cents wide, while the five are chromatic. 12-tone scales tuned in just intonation typically define three or four kinds of semitones, for instance, Asymmetric five-limit tuning yields chromatic semitones with ratios 25,24 and 135,128, and diatonic semitones with ratios 16,15 and 27,25. The condition of having semitones is called hemitonia, that of having no semitones is anhemitonia, a musical scale or chord containing semitones is called hemitonic, one without semitones is anhemitonic. The minor second occurs in the scale, between the third and fourth degree, and between the seventh and eighth degree. It is also called the diatonic semitone because it occurs between steps in the diatonic scale, the minor second is abbreviated m2. Its inversion is the major seventh, listen to a minor second in equal temperament. Here, middle C is followed by D♭, which is a tone 100 cents sharper than C, melodically, this interval is very frequently used, and is of particular importance in cadences. In the perfect and deceptive cadences it appears as a resolution of the leading-tone to the tonic, in the plagal cadence, it appears as the falling of the subdominant to the mediant. It also occurs in many forms of the cadence, wherever the tonic falls to the leading-tone. Harmonically, the interval usually occurs as some form of dissonance or a tone that is not part of the functional harmony. It may also appear in inversions of a seventh chord. In unusual situations, the second can add a great deal of character to the music. For instance, Frédéric Chopins Étude Op.25, No.5 opens with a melody accompanied by a line that plays fleeting minor seconds and these are used to humorous and whimsical effect, which contrasts with its more lyrical middle section. This eccentric dissonance has earned the piece its nickname, the wrong note étude and this kind of usage of the minor second appears in many other works of the Romantic period, such as Modest Mussorgskys Ballet of the Unhatched Chicks
4.
12 tone equal temperament
–
An equal temperament is a musical temperament, or a system of tuning, in which the frequency interval between every pair of adjacent notes has the same ratio. In equal temperament tunings, the interval is often found by dividing some larger desired interval, often the octave. That resulting smallest interval, 1⁄12 the width of an octave, is called a semitone or half step, the standard pitch has not always been 440 but has varied and generally risen over the past few hundred years. For example, some music has been written in 19-TET and 31-TET, in Western countries, when people use the term equal temperament without qualification, they usually mean 12-TET. To avoid ambiguity between equal temperaments that divide the octave and ones that divide some other interval, the equal division of the octave. According to this system, 12-TET is called 12-EDO, 31-TET is called 31-EDO. Other instruments, such as wind, keyboard, and fretted instruments, often only approximate equal temperament. Some wind instruments that can easily and spontaneously bend their tone, most notably trombones, use tuning similar to string ensembles, the two figures frequently credited with the achievement of exact calculation of equal temperament are Zhu Zaiyu in 1584 and Simon Stevin in 1585. Kenneth Robinson attributes the invention of equal temperament to Zhu Zaiyu, Zhu Zaiyu is quoted as saying that, in a text dating from 1584, I have founded a new system. I establish one foot as the number from which the others are to be extracted, altogether one has to find the exact figures for the pitch-pipers in twelve operations. Kuttner disagrees and remarks that his claim cannot be considered correct without major qualifications, kuttner proposes that neither Zhu Zaiyu or Simon Stevin achieved equal temperament, and that neither of the two should be treated as inventors. The origin of the Chinese pentatonic scale is traditionally ascribed to the mythical Ling Lun, allegedly his writings discussed the equal division of the scale in the 27th century BC. However, evidence of the origins of writing in this period in China is limited to rudimentary inscriptions on oracle bones, an approximation for equal temperament was described by He Chengtian, a mathematician of Southern and Northern Dynasties around 400 AD. He came out with the earliest recorded approximate numerical sequence in relation to equal temperament in history,900849802758715677638601570536509.5479450, historically, there was a seven-equal temperament or hepta-equal temperament practice in Chinese tradition. Zhu Zaiyu, a prince of the Ming court, spent thirty years on research based on the equal temperament idea originally postulated by his father and he described his new pitch theory in his Fusion of Music and Calendar 乐律融通 published in 1580. An extended account is given by Joseph Needham. Similarly, after 84 divisions the length was divided by a factor of 128,84 =27 =128, according to Gene Cho, Zhu Zaiyu was the first person to solve the equal temperament problem mathematically. Matteo Ricci, a Jesuit in China recorded this work in his personal journal, in 1620, Zhus work was referenced by a European mathematician
5.
Interval (music)
–
In music theory, an interval is the difference between two pitches. In Western music, intervals are most commonly differences between notes of a diatonic scale, the smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones and they can be formed using the notes of various kinds of non-diatonic scales. Some of the very smallest ones are called commas, and describe small discrepancies, observed in some tuning systems, Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic frequencies, for example, any two notes an octave apart have a frequency ratio of 2,1. This means that successive increments of pitch by the same result in an exponential increase of frequency. For this reason, intervals are often measured in cents, a derived from the logarithm of the frequency ratio. In Western music theory, the most common naming scheme for intervals describes two properties of the interval, the quality and number, examples include the minor third or perfect fifth. These names describe not only the difference in semitones between the upper and lower notes, but also how the interval is spelled, the importance of spelling stems from the historical practice of differentiating the frequency ratios of enharmonic intervals such as G–G♯ and G–A♭. The size of an interval can be represented using two alternative and equivalently valid methods, each appropriate to a different context, frequency ratios or cents, the size of an interval between two notes may be measured by the ratio of their frequencies. When a musical instrument is tuned using a just intonation tuning system, Intervals with small-integer ratios are often called just intervals, or pure intervals. Most commonly, however, musical instruments are tuned using a different tuning system. As a consequence, the size of most equal-tempered intervals cannot be expressed by small-integer ratios, for instance, an equal-tempered fifth has a frequency ratio of 2 7⁄12,1, approximately equal to 1.498,1, or 2.997,2. For a comparison between the size of intervals in different tuning systems, see section Size in different tuning systems, the standard system for comparing interval sizes is with cents. The cent is a unit of measurement. If frequency is expressed in a scale, and along that scale the distance between a given frequency and its double is divided into 1200 equal parts, each of these parts is one cent. In twelve-tone equal temperament, a system in which all semitones have the same size. Hence, in 12-TET the cent can be defined as one hundredth of a semitone
6.
Cent (music)
–
The cent is a logarithmic unit of measure used for musical intervals. Twelve-tone equal temperament divides the octave into 12 semitones of 100 cents each, alexander J. Ellis based the measure on the acoustic logarithms decimal semitone system developed by Gaspard de Prony in the 1830s, at Robert Holford Macdowell Bosanquets suggestion. It has become the method of representing and comparing musical pitches. Like a decibels relation to intensity, a cent is a ratio between two close frequencies, for the ratio to remain constant over the frequency spectrum, the frequency range encompassed by a cent must be proportional to the two frequencies. An equally tempered semitone spans 100 cents by definition, an octave—two notes that have a frequency ratio of 2, 1—spans twelve semitones and therefore 1200 cents.0005777895. For example, in just intonation the major third is represented by the frequency ratio 5,4, applying the formula at the top shows that this is about 386 cents. The equivalent interval on the piano would be 400 cents. The difference,14 cents, is about a seventh of a half step, as x increases from 0 to 1⁄12, the function 2x increases almost linearly from 1.00000 to 1.05946. The exponential cent scale can therefore be accurately approximated as a linear function that is numerically correct at semitones. That is, n cents for n from 0 to 100 may be approximated as 1 +0. 0005946n instead of 2 n⁄1200. The rounded error is zero when n is 0 or 100, and is about 0.72 cents high when n is 50 and this error is well below anything humanly audible, making this piecewise linear approximation adequate for most practical purposes. It is difficult to establish how many cents are perceptible to humans, one author stated that humans can distinguish a difference in pitch of about 5–6 cents. The threshold of what is perceptible, technically known as the just noticeable difference, also varies as a function of the frequency, the amplitude and the timbre. In one study, changes in tone quality reduced student musicians ability to recognize, as out-of-tune and it has also been established that increased tonal context enables listeners to judge pitch more accurately. Free, online web sites for self-testing are available, while intervals of less than a few cents are imperceptible to the human ear in a melodic context, in harmony very small changes can cause large changes in beats and roughness of chords. When listening to pitches with vibrato, there is evidence that humans perceive the mean frequency as the center of the pitch, normal adults are able to recognize pitch differences of as small as 25 cents very reliably. Adults with amusia, however, have trouble recognizing differences of less than 100 cents, iring noticed that the Grad/Werckmeister and the schisma are nearly the same and both may be approximated by 600 steps per octave. Yasser promoted the decitone, centitone, and millitone, for example, Equal tempered perfect fifth =700 cents =175.6 savarts =583.3 millioctaves =350 centitones
7.
Diatonic scale
–
This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally separated from each other. The word diatonic comes from the Greek διατονικός, meaning progressing through tones, the seven pitches of any diatonic scale can be obtained using a chain of six perfect fifths. Musical keyboards are designed to play notes, and hence diatonic scales. A diatonic scale can be described as two tetrachords separated by a whole tone. The term diatonic originally referred to the genus, one of the three genera of the ancient Greeks. In musical set theory, Allen Forte classifies diatonic scales as set form 7–35 and this article does not concern alternative seven-note diatonic scales such as the harmonic minor or the melodic minor. Western music from the Middle Ages until the late 19th century is based on the diatonic scale, there is one claim that the 45, 000-year-old Divje Babe Flute uses a diatonic scale, but there is no proof or consensus it is even a musical instrument. There is evidence that the Sumerians and Babylonians used some version of the diatonic scale and this derives from surviving inscriptions that contain a tuning system and musical composition. Despite the conjectural nature of reconstructions of the known as the Hurrian songs from the surviving score. The scales corresponding to the medieval Church modes were diatonic, one of these, the one starting on B, has no pure fifth above its reference note, it is probably for this reason that it was not used. Of the six remaining scales, two were described as corresponding to two others with a B♭ instead of a B♮, A–B–C–D–E–F–G–A was described as D–E–F–G–A–B♭C–D and C–D–E–F–G–A–B–C as F–G–A–B♭–C–D–E–F, as a result, medieval theory described the Church modes as corresponding to four diatonic scales only. Heinrich Glarean considered that the modal scales including a B♭ had to be the result of a transposition, by the beginning of the Baroque period, the notion of musical key was established, describing additional possible transpositions of the diatonic scale. Major and minor scales came to dominate until at least the start of the 20th century, some Church modes survived into the early 18th century, as well as appearing occasionally in classical and 20th-century music, and later in modal jazz. Glareans six natural scales could be transposed not only to include one flat in the signature, of these six scales, three are major scales, three are minor. To these may be added the seventh diatonic scale, with a fifth above the reference note. Transposing each of seven scales on the twelve degrees of the chromatic scale results in a total of eighty-four diatonic scales. The modern musical keyboard originated as a keyboard with only lower keys. The major scale, for instance, can be represented as T–T–S–T–T–T–S or 2–2–1–2–2–2–1 The major scale or Ionian scale is one of the diatonic scales and it is made up of seven distinct notes, plus an eighth that duplicates the first an octave higher
8.
Tonic (music)
–
The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. More generally, the tonic is the pitch upon which all other pitches of a piece are hierarchically referenced, scales are named after their tonics, thus the tonic of the scale of C is the note C. Simple folk music and traditional songs may begin and end on the tonic note, in very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary harmonies, tonic, dominant, and subdominant, and especially the first two of these. The tonic is often confused with the root, which is the note of a chord. The root of a chord is different from the tonic, because different types of chords have root notes. It is also represented with the Roman numeral I, two parallel keys have the same tonic. For example, in both C major and C minor, the tonic is C, however, relative keys have different tonics. For example, C major and A minor share a key signature that feature no sharps or flats, thus a pitch center may function referentially or contextually in an atonal context, often acting as axis or line of symmetry in an interval cycle. Pitch centricity was coined by Arthur Berger in his Problems of Pitch Organization in Stravinsky
9.
Symmetric scale
–
In music, a symmetric scale is a music scale which equally divides the octave. The concept and term appears to have introduced by Joseph Schillinger and further developed by Nicolas Slonimsky as part of his famous Thesaurus of Scales. Examples include the octatonic scale and the tritone scale, As explained above. This property allows these scales to be transposed to other notes, thus the intervals between scale degrees are symmetrical if read from the top or bottom of the scale. Modes of limited transposition Symmetry#In music Yamaguchi, Masaya, the Complete Thesaurus of Musical Scales, revised edition. Symmetrical Scales for Jazz Improvisation, revised edition, lexicon of Geometric Patterns for Jazz Improvisation
10.
Chromatic circle
–
The chromatic circle is useful because it represents melodic distance, which is often correlated with physical distance on musical instruments. For instance, to move from any C on a keyboard to the nearest E, one must move up four semitones. One can also move down by eight semitones, corresponding to eight counterclockwise steps on the pitch class circle, larger motions on the piano can be represented in pitch class space by paths that wrap around the chromatic circle one or more times. One can represent the twelve equal-tempered pitch classes by the group of order twelve, or equivalently. The group Z12 has four generators, which can be identified with the ascending and descending semitones, the semitonal generator gives rise to the chromatic circle while the perfect fifth gives rise to the circle of fifths. By contrast, the circle of fifths is fundamentally a discrete structure, a pitch constellation is a graphical representation of pitches used to describe musical scales, modes, chords or other groupings of pitches within an octave range. It consists of a circle with markings along the circumference or lines from the center which indicate pitches, most pitch constellations use of a subset of pitches chosen from the twelve pitch chromatic scale. In this case the points on the circle are spaced like the hour markings on an analog clock where each tick mark represents a semitone. The pitch constellation provides a way to identify certain patterns. A major scale consists of a circle with markings at 0,2,4,5,7,9 and 11 oclock, a minor scale consists of a circle with markings at 0,2,3,5,7,8 and 10 oclock. The diagrams above show the two scales marked with scale degrees and it can be observed that the tonic, second, fourth and fifth are shared, while the minor scale flattens the third, sixth and seventh notes relative to the major scale. Another observation is that the minor scales constellation is the same as the major scale, in the following drawing all of the major/minor scales are drawn. Note that the constellation for all the scales or all the minor scales are identical. The different scales are generated by rotating the note overlay, the notes that need to be sharpened/flattened can be easily identified. Moreover, if we draw all seven diatonic modes we can see all as rotations of the Ionian mode. Note also the significance of the 6 oclock point, the modes including pitches a tritone from the tonic are least used. The 5 oclock and 7 oclock pitches are also important points corresponding to a perfect fourth, the most used scales/modes - major, minor and Mixolydian - include these pitches. Symmetric scales have simple representations in this scheme, more exotic scales - such as the pentatonic, blues and octatonic - can also be drawn and related to the common scales
11.
Enharmonic spelling
–
Thus, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. For example, in equal temperament, the notes C♯. Namely, they are the key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony. In other words, if two notes have the pitch but are represented by different letter names and accidentals, they are enharmonic. Enharmonic intervals are intervals with the sound that are spelled differently…, of course. Enharmonic equivalence is peculiar to post-tonal theory, much music since at least the 18th century, however, exploits enharmonic equivalence for purposes of modulation and this requires that enharmonic equivalents in fact be equivalent. Some key signatures have an enharmonic equivalent that represents a scale identical in sound, the number of sharps and flats of two enharmonically equivalent keys sum to twelve. For example, the key of B major, with 5 sharps, is equivalent to the key of C♭ major with 7 flats. Keys past 7 sharps or flats exist only theoretically and not in practice, the enharmonic keys are six pairs, three major and three minor, B major/C♭ major, G♯ minor/A♭ minor, F♯ major/G♭ major, D♯ minor/E♭ minor, C♯ major/D♭ major and A♯ minor/B♭ minor. There are practically no works composed in keys that require double sharps or double flats in the key signature, in practice, musicians learn and practice 15 major and 15 minor keys, three more than 12 due to the enharmonic spellings. Enharmonic equivalents can also used to improve the readability of a line of music, for example, a sequence of notes is more easily read as ascending or descending if the noteheads are on different positions on the staff. Doing so may reduce the number of accidentals that must be used. Thus, in the key of B♭ major, the sequence B♭-B♮-B♭ is more easily using the enharmonic spelling C♭ instead of B♮. For example the intervals of a sixth on C, on B♯. The most common enharmonic intervals are the fourth and diminished fifth, or tritone. Enharmonic equivalence is not to be confused with octave equivalence, nor are enharmonic intervals to be confused with inverted or compound intervals. In principle, the musical use of the word enharmonic to mean identical tones is correct only in equal temperament. In other tuning systems, however, enharmonic associations can be perceived by listeners, in Pythagorean tuning, all pitches are generated from a series of justly tuned perfect fifths, each with a frequency ratio of 3 to 2
12.
Major and minor
–
In Western music, the adjectives major and minor can describe a musical composition, movement, section, scale, key, chord, or interval. Major and minor are frequently referred to in the titles of classical compositions, with regard to intervals, the words major and minor just mean large and small, so a major third is a wider interval, and a minor third a relatively narrow one. The intervals of the second, third, sixth, and seventh may be major or minor, the other uses of major and minor, in general, refer to musical structures containing major thirds or minor thirds. A major scale is one whose third degree is a third above the tonic. A major chord or major triad, similarly, contains a third above the root. In Western music, a chord, in comparison, sounds darker than a major chord. The hallmark that distinguishes major keys from minor is whether the scale degree is major or minor. This alteration in the third degree greatly changes the mood of the music, the minor scale can be described in two different ways. Minor keys are said to have a more interesting, possibly sadder sound than plain major scales. The minor mode, with its sixth and seventh degrees, offers nine notes, in C, C-D-E♭-F-G-A♭-A♮-B♭-B♮, over the major modes seven, in C. Harry Partch considers minor as, the faculty of ratios. The minor key and scale are considered less justifiable than the major, with Paul Hindemith calling it a clouding of major. The relative minor of a key has the same key signature and starts down a minor third, for example. Similarly the relative major of a minor key starts up a third, for example. This is in contrast with, for instance, transposition, transposition is done by moving all intervals up or down a certain constant interval, and does change key, but does not change mode, which requires the alteration of intervals. By analogy, the scales are given stereotypically masculine qualities. German uses the word Tongeschlecht for tonality, and the words Dur for major, major and minor chords may each be found in both the major and minor scales, constructed on different degrees of each. In the natural scale, all scale degrees are the same as the relative major
13.
Sharp (music)
–
In music, sharp, dièse, or diesis means higher in pitch. More specifically, in musical notation, sharp means higher in pitch by a semitone, and has a sharp symbol, ♯. Sharp is contrasted with flat, which refers to a lowering of pitch, intonation may be flat, sharp, or both, successively or simultaneously. Under twelve-tone equal temperament, B♯, for instance, sounds the same as, or is equivalent to, C natural. In other tuning systems, such enharmonic equivalences in general do not exist, to allow extended just intonation, composer Ben Johnston uses a sharp to indicate a note is raised 70.6 cents, or a flat to indicate a note is lowered 70.6 cents. In tuning, sharp can also slightly higher in pitch. If two simultaneous notes are out of tune, the higher-pitched one is said to be sharp with respect to the other. Furthermore, the verb sharpen means raise the frequency of a note, double sharps also exist, these are denoted by the symbol and raise a note by two semitones, or one whole tone. They should not be confused with a ghost note, less often one will encounter other sharps. A half sharp raises a note by a quarter tone =50 cents, a sharp and a half raises a note by three quarter tones =150 cents and may be denoted. Although very uncommon, a triple sharp can sometimes be found and it raises a note by three semitones. The sharp symbol may be confused with the number sign, both signs have two sets of parallel double-lines. However, a correctly drawn sharp sign must have two slanted parallel lines which rise from left to right, to avoid being obscured by the staff lines, the number sign, in contrast, has two compulsory horizontal strokes in this place. In addition, while the sharp also always has two vertical lines, the number sign may or may not contain perfectly vertical lines. The order of sharps in key signature notation is F♯, C♯, G♯, D♯, A♯, E♯, B♯, each extra sharp being added successively in the sequence of major keys. Similarly the order of flats is based on the natural notes in reverse order, B♭, E♭, A♭, D♭, G♭, C♭, F♭, encountered in the following series of major keys. In the above progression, key C♯ may be conveniently written as the harmonically equivalent key D♭
14.
Flat (music)
–
In music, flat, or bemolle means lower in pitch. In music notation, the symbol, ♭, derived from a stylised lowercase b. Intonation or tuning is said to be flat when it is below the true pitch, the order of flats in the key signatures of music notation, following the circle of fifths, is B♭, E♭, A♭, D♭, G♭, C♭, and F♭. A mnemonic for this is, Before Eating A Doughnut Get Coffee First, the Unicode character ♭ can be found in the block Miscellaneous Symbols, its HTML entity is ♭. Under twelve tone equal temperament, C♭ for instance is the same as, or enharmonically equivalent to, B♮, in any other tuning system, such enharmonic equivalences in general do not exist. To allow extended just intonation, composer Ben Johnston uses a sharp as an accidental to indicate a note is raised 70.6 cents, double flats also exist, which look like and lower a note by two semitones, or a whole step. Less often one will encounter half, or three-quarter, or otherwise altered flats, the Unicode character
15.
Degree (music)
–
In music theory, a scale degree refers to the position of a particular note on a scale relative to the tonic, the first and main note of the scale from which each octave is assumed to begin. The term is useful for indicating the size of intervals and chords, scale degrees can be applied to any musical scale, however, the concept is most commonly applied to scales in which a tonic is specified by definition, such as the 7-tone diatonic scales. It is possible to assign a scale degree to the 12-tone chromatic scale, the expression scale step is sometimes used synonymously with scale degree, but it may alternatively refer to the distance between between two successive scale degrees. The terms whole step and half step are used as interval names. The number of degrees and the distance between them together define the scale they are in. These names are derived from a scheme where the note is the center
16.
Pythagorean tuning
–
Pythagorean tuning is a tuning of the syntonic temperament in which the generator is the ratio 3,2, which is 702 cents wide. Hence, it is a system of tuning in which the frequency ratios of all intervals are based on the ratio 3,2. This ratio, also known as the perfect fifth, is chosen because it is one of the most consonant and easiest to tune by ear. As Novalis put it, The musical proportions seem to me to be particularly correct natural proportions, the so-called Pythagorean tuning was used by musicians up to the beginning of the 16th century. The Pythagorean system would appear to be ideal because of the purity of the fifths, Pythagorean tuning is based on a stack of intervals called perfect fifths, each tuned in the ratio 3,2, the next simplest ratio after 2,1. Since notes differing in frequency by a factor of 2 are given the same name, the purpose of this adjustment is to move the 12 notes within a smaller range of frequency, namely within the interval between the base note D and the D above it. This interval is called the basic octave. For instance, the A is tuned such that its frequency equals 3,2 times the frequency of D—if D is tuned to a frequency of 288 Hz, then A is tuned to 432 Hz. Similarly, the E above A is tuned such that its frequency equals 3,2 times the frequency of A, or 9,4 times the frequency of D—with A at 432 Hz, this puts E at 648 Hz. Since this E is outside the basic octave, it is usual to halve its frequency to move it within the basic octave. Therefore, E is tuned to 324 Hz, a 9,8 above D, the B at 3,2 above that E is tuned to the ratio 27,16 and so on. This frequency is doubled to bring it into the basic octave. When extending this tuning however, a problem arises, no stack of 3,2 intervals will fit exactly into any stack of 2,1 intervals. For instance a stack such as this, obtained by adding one note to the stack shown above A♭–E♭–B♭–F–C–G–D–A–E–B–F♯–C♯–G♯ will be similar. More exactly, it will be about a quarter of a semitone larger, thus, A♭ and G♯, when brought into the basic octave, will not coincide as expected. This discrepancy, of about 23.46 cents, or nearly one quarter of a semitone, is known as a Pythagorean comma, to get around this problem, Pythagorean tuning constructs only twelve notes as above, with eleven fifths between them. For example, one may use only the 12 notes from E♭ to G♯. This, as shown above, the remaining interval is left badly out-of-tune, meaning that any music which combines those two notes is unplayable in this tuning. A very out-of-tune interval such as one is known as a wolf interval
17.
Musical tuning
–
In music, there are two common meanings for tuning, Tuning practice, the act of tuning an instrument or voice. Tuning systems, the systems of pitches used to tune an instrument. Tuning is the process of adjusting the pitch of one or many tones from musical instruments to establish typical intervals between these tones, Tuning is usually based on a fixed reference, such as A =440 Hz. Out of tune refers to a pitch/tone that is too high or too low in relation to a given reference pitch. While an instrument might be in relative to its own range of notes. Some instruments become out of tune with damage or time and must be readjusted or repaired, different methods of sound production require different methods of adjustment, Tuning to a pitch with ones voice is called matching pitch and is the most basic skill learned in ear training. Turning pegs to increase or decrease the tension on strings so as to control the pitch, instruments such as the harp, piano, and harpsichord require a wrench to turn the tuning pegs, while others such as the violin can be tuned manually. Modifying the length or width of the tube of an instrument, brass instrument, pipe, bell. The sounds of instruments such as cymbals are inharmonic—they have irregular overtones not conforming to the harmonic series. Tuning may be done aurally by sounding two pitches and adjusting one of them to match or relate to the other, a tuning fork or electronic tuning device may be used as a reference pitch, though in ensemble rehearsals often a piano is used. Symphony orchestras and concert bands tend to tune to an A or a B♭, respectively, interference beats are used to objectively measure the accuracy of tuning. As the two approach a harmonic relationship, the frequency of beating decreases. When tuning a unison or octave it is desired to reduce the beating frequency until it cannot be detected, for other intervals, this is dependent on the tuning system being used. Harmonics may be used to facilitate tuning of strings that are not themselves tuned to the unison, for example, lightly touching the highest string of a cello at the middle while bowing produces the same pitch as doing the same a third of the way down its second-highest string. The resulting unison is more easily and quickly judged than the quality of the fifth between the fundamentals of the two strings. In music, the open string refers to the fundamental note of the unstopped. The strings of a guitar are tuned to fourths, as are the strings of the bass guitar. Violin, viola, and cello strings are tuned to fifths, however, non-standard tunings exist to change the sound of the instrument or create other playing options
18.
Just intonation
–
In music, just intonation or pure intonation is any musical tuning in which the frequencies of notes are related by ratios of small whole numbers. Any interval tuned in this way is called a pure or just interval, pure intervals are important in music because they correspond to the vibrational patterns found in physical objects which correlate to human perception. The two notes in any just interval are members of the harmonic series. Frequency ratios involving large integers such as 1024,729 are not generally said to be justly tuned, the Indian classical music system uses just intonation tuning as codified in the Natya Shastra. Various societies perceive pure intervals as pleasing or satisfying consonant and, conversely, however, various societies do not have these associations. Just intonation can be contrasted and compared with equal temperament, which dominates Western instruments of fixed pitch, however, except for doubling of frequencies, no other intervals are exact ratios of small integers. Each just interval differs a different amount from its analogous, equally tempered interval, justly tuned intervals can be written as either ratios, with a colon, or as fractions, with a solidus. For example, two tones, one at 300 hertz, and the other at 200 hertz are both multiples of 100 Hz and as members of the harmonic series built on 100 Hz. Thus 3,2, known as a fifth, may be defined as the musical interval between the second and third harmonics of any fundamental pitch. Just intonation An A-major scale, followed by three major triads, and then a progression of fifths in just intonation, equal temperament An A-major scale, followed by three major triads, and then a progression of fifths in equal temperament. By listening to the file, and then listening to this one, one might be able to hear the beating in this file. Equal temperament and just intonation compared A pair of major thirds, the first in each pair is in equal temperament, the second is in just intonation. Equal temperament and just intonation compared with square waveform A pair of major chords, the first is in equal temperament, the second is in just intonation. The pair of chords is repeated with a transition from equal temperament to just temperament between the two chords, in the equal temperament chords a roughness or beating can be heard at about 4 Hz and about 0.8 Hz. In the just intonation triad, this roughness is absent, the square waveform makes the difference between equal and just temperaments more obvious. Harmonic intervals come naturally to horns, vibrating strings, and in human singing voices. Pythagorean tuning, perhaps the first tuning system to be theorized in the West, is a system in all tones can be found using powers of the ratio 3,2. It is easier to think of this system as a cycle of fifths
19.
Enharmonic
–
Thus, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. For example, in equal temperament, the notes C♯. Namely, they are the key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony. In other words, if two notes have the pitch but are represented by different letter names and accidentals, they are enharmonic. Enharmonic intervals are intervals with the sound that are spelled differently…, of course. Enharmonic equivalence is peculiar to post-tonal theory, much music since at least the 18th century, however, exploits enharmonic equivalence for purposes of modulation and this requires that enharmonic equivalents in fact be equivalent. Some key signatures have an enharmonic equivalent that represents a scale identical in sound, the number of sharps and flats of two enharmonically equivalent keys sum to twelve. For example, the key of B major, with 5 sharps, is equivalent to the key of C♭ major with 7 flats. Keys past 7 sharps or flats exist only theoretically and not in practice, the enharmonic keys are six pairs, three major and three minor, B major/C♭ major, G♯ minor/A♭ minor, F♯ major/G♭ major, D♯ minor/E♭ minor, C♯ major/D♭ major and A♯ minor/B♭ minor. There are practically no works composed in keys that require double sharps or double flats in the key signature, in practice, musicians learn and practice 15 major and 15 minor keys, three more than 12 due to the enharmonic spellings. Enharmonic equivalents can also used to improve the readability of a line of music, for example, a sequence of notes is more easily read as ascending or descending if the noteheads are on different positions on the staff. Doing so may reduce the number of accidentals that must be used. Thus, in the key of B♭ major, the sequence B♭-B♮-B♭ is more easily using the enharmonic spelling C♭ instead of B♮. For example the intervals of a sixth on C, on B♯. The most common enharmonic intervals are the fourth and diminished fifth, or tritone. Enharmonic equivalence is not to be confused with octave equivalence, nor are enharmonic intervals to be confused with inverted or compound intervals. In principle, the musical use of the word enharmonic to mean identical tones is correct only in equal temperament. In other tuning systems, however, enharmonic associations can be perceived by listeners, in Pythagorean tuning, all pitches are generated from a series of justly tuned perfect fifths, each with a frequency ratio of 3 to 2
20.
17 equal temperament
–
In music,17 tone equal temperament is the tempered scale derived by dividing the octave into 17 equal steps. Each step represents a ratio of 17√2, or 70.6 cents. Alexander J. Ellis refers to a tuning of seventeen tones based on fourths and fifths as the Arabic scale. This 17-tone system remained the primary theoretical system until the development of the tone scale. 17-ET is the tuning of the Regular diatonic tuning in which the tempered fifth is equal to 705.88 cents. 17-ET is where every other step in the 34-ET scale is included, conversely 34-ET is a subdivision of 17-ET. The 17-tone Puzzle — And the, microtonalismo Heptadecatonic System Applications Georg Hajdus 1992 ICMC paper on the 17-tone piano project ProyectoXVII Heptadecatonic System Applications project XVII - Peruvian
21.
Syntonic comma
–
The comma is referred to as a comma of Didymus because it is the amount by which Didymus corrected the Pythagorean major third to a just major third. Namely,81,64 ÷5,4 =81,80, the difference between four justly tuned perfect fifths, and two octaves plus a justly tuned major third. A just perfect fifth has a size of 3,2, a just major third has a size of 5,4, and one of them plus two octaves is equal to 5,1. The difference between these is the syntonic comma, namely,81,16 ÷5,1 =81,80. The difference between one octave plus a justly tuned minor third, and three justly tuned perfect fourths, namely,12,5 ÷64,27 =81,80. The difference between the two kinds of major second which occur in 5-limit tuning, major tone and minor tone, namely,9,8 ÷10,9 =81,80. The difference between a Pythagorean major sixth and a justly tuned or pure major sixth, namely,27,16 ÷5,3 =81,80. On a piano keyboard a stack of four fifths is exactly equal to two octaves plus a major third, in other words, starting from a C, both combinations of intervals will end up at E. Using justly tuned octaves, fifths, and thirds, however, the ratio between their frequencies, as explained above, is a syntonic comma. Pythagorean tuning uses justly tuned fifths as well, but uses the complex ratio of 81,64 for major thirds. Quarter-comma meantone uses justly tuned major thirds, but flattens each of the fifths by a quarter of a syntonic comma and this is one of the reasons why 12-tone equal temperament is currently the preferred system for tuning most musical instruments. Mathematically, by Størmers theorem,81,80 is the closest superparticular ratio possible with regular numbers as numerator and denominator. A superparticular ratio is one whose numerator is 1 greater than its denominator, such as 5,4, and a number is one whose prime factors are limited to 2,3. Thus, although smaller intervals can be described within 5-limit tunings, the syntonic comma has a crucial role in the history of music. It is the amount by which some of the notes produced in Pythagorean tuning were flattened or sharpened to produce just minor and major thirds, in Pythagorean tuning, the only highly consonant intervals were the perfect fifth and its inversion, the perfect fourth. The Pythagorean major third and minor third were dissonant, and this prevented musicians from using triads and chords, in late Middle Ages, musicians realized that by slightly tempering the pitch of some notes, the Pythagorean thirds could be made consonant. For instance, if the frequency of E is decreased by a comma, C-E. But the fifth C-G stays consonant, since only E has been flattened, since then, other tuning systems were developed, and the syntonic comma was used as a reference value to temper the perfect fifths in an entire family of them
22.
19-EDO
–
In music,19 equal temperament, called 19-TET, 19-EDO, or 19-ET, is the tempered scale derived by dividing the octave into 19 equal steps. Each step represents a ratio of 19√2, or 63.16 cents. 19-edo is the tuning of the temperament in which the tempered perfect fifth is equal to 694.737 cents. Division of the octave into 19 equal-width steps arose naturally out of Renaissance music theory, the greater diesis, the ratio of four minor thirds to an octave was almost exactly a nineteenth of an octave. Interest in such a system goes back to the 16th century. Costeley understood and desired the circulating aspect of this tuning, in 1577, music theorist Francisco de Salinas in effect proposed it. Salinas discussed 1⁄3-comma meantone, in which the fifth is of size 694.786 cents, the fifth of 19-edo is 694.737, which is less than a twentieth of a cent narrower, imperceptible and less than tuning error. Salinas suggested tuning nineteen tones to the octave to this tuning, in the 19th century, mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone temperaments he regarded as better, such as 50-edo. The composer Joel Mandelbaum wrote his Ph. D. thesis on the properties of the 19-edo tuning, Mandelbaum and Joseph Yasser have written music with 19-edo. Easley Blackwood has stated that 19-edo makes possible a substantial enrichment of the tonal repertoire, here are the sizes of some common intervals and comparison with the ratios arising in the harmonic series, the difference column measures in cents the distance from an exact fit to these ratios. For reference, the difference from the fifth in the widely used 12 equal temperament is 1.955 cents. Beta scale Elaine Walker Levy, Kenneth J. Costeleys Chromatic Chanson, Annales Musicologues, Moyen-Age et Renaissance, Tome III, howe, Hubert S. Jr. 19-Tone Theory and Applications, Aaron Copland School of Music at Queens College. Sethares, William A. Tunings for 19 Tone Equal Tempered Guitar, Experimental Musical Instruments, Vol. VI, hair, Bailey, Morrison, Pearson and Parncutt, Rehearsing Microtonal Music, Grappling with Performance and Intonational Problems, Microtonalism. ZiaSpace. com - 19tet downloadable mp3s by Elaine Walker of Zia, the Music of Jeff Harrington, Parnasse. com. Jeff Harrington is a composer who has several pieces for piano in the 19-TET tuning. Chris Vaisvil, GR-20 Hexaphonic 19-ET Guitar Improvisation Arto Juhani Heino, Artone 19 Guitar Design, naming the 19 note scale Parvatic
23.
Music of China
–
Music of China refers to the music of the Chinese people, which may be the music of the Han Chinese as well as other ethnic minorities within mainland China. It also includes music produced by people of Chinese origin in some territories outside mainland China using traditional Chinese instruments or in the Chinese language and it covers a highly diverse range of music from the traditional to the modern. These further developed into forms of music through succeeding dynasties. Chinese music continues to evolve in the times, and more contemporary forms have also emerged. A twelve-tone musical system was created based on the pitches of the pipes, and the first of these pipes produced the yellow bell pitch. Archaeological evidence indicates that music culture developed in China from an early period. During the Zhou Dynasty, a system of court and ceremonial music later termed yayue was established. The word dance similarly also refers to music, and every dance would have have a piece of associated with it. The most important set of music of the period was the Six-dynasty Music Dance performed in rituals in the royal court, correct music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature. Around or before the 7th century BC, a system of pitch generation, Chinese philosophers took varying approaches to music. Some popular forms of music, however, were considered corrupting in the Confucian view, mozi on the other hand condemned music, and argued in Against Music that music is an extravagance and indulgence that serves no useful purpose and may be harmful. According to Mencius, a powerful ruler once asked him whether it was if he preferred popular music to the classics. The answer was that it mattered that the ruler loved his subjects. In ancient China the social status of musicians was much lower than that of painters, though music was seen as central to the harmony, almost every emperor took folk songs seriously, sending officers to collect songs to record the popular culture. One of the Confucianist Classics, Shi Jing 詩經, contained many folk songs dating from 800 BC to about 400 BC, in subsequent dynasties, the development of Chinese music was strongly influenced by the musical traditions of Central Asia. The oldest extant written Chinese music is Youlan or the Solitary Orchid, composed during the 6th or 7th century, but has also been attributed to Confucius. The first major well-documented flowering of Chinese music was for the qin during the Tang Dynasty, through succeeding dynasties over thousands of years, Chinese musicians developed a large assortment of different instruments and playing styles. A wide variety of instruments, such as guzheng and dizi are indigenous, although many popular traditional musical instruments were introduced from Central Asia, such as the erhu
24.
Diatonic and chromatic
–
They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900. These terms may mean different things in different contexts, very often, diatonic refers to musical elements derived from the modes and transpositions of the white note scale C–D–E–F–G–A–B. In some usages it includes all forms of scale that are in common use in Western music. Chromatic most often refers to structures derived from the chromatic scale, in ancient Greece there were three standard tunings of a lyre. These three tunings were called diatonic, chromatic, and enharmonic, and the sequences of four notes that they produced were called tetrachords, a diatonic tetrachord comprised, in descending order, two whole tones and a semitone, such as A G F E. In the chromatic tetrachord the second string of the lyre was lowered from G to G♭, in the enharmonic tetrachord the tuning had two quarter tone intervals at the bottom, A G F E. For all three tetrachords, only the two strings varied in their pitch. The term cromatico was occasionally used in the Medieval and Renaissance periods to refer to the coloration of certain notes, in works of the Ars Nova from the 14th century, this was used to indicate a temporary change in metre from triple to duple, or vice versa. This usage became common in the 15th century as open white noteheads became the standard notational form for minims. These uses for the word have no relationship to the meaning of chromatic. The term chromatic began to approach its modern usage in the 16th century, Medieval theorists defined scales in terms of the Greek tetrachords. The gamut was the series of pitches from which all the Medieval scales notionally derive, the origin of the word gamut is explained at the article Hexachord, here the word is used in one of the available senses, the all-encompassing gamut as described by Guido dArezzo. The intervals from one note to the next in this Medieval gamut are all tones or semitones, recurring in a pattern with five tones. The semitones are separated as much as they can be, between alternating groups of three tones and two tones, here are the intervals for a string of ascending notes from the gamut. This would include the major scale, and the minor scale. There are specific applications in the music of the Common Practice Period, most, but not all writers, accept the natural minor as diatonic. Among such theorists there is no agreed general term that encompasses the major, inclusive usage Some writers consistently include the melodic and harmonic minor scales as diatonic also. For this group, every scale standardly used in common practice music, mixed usage Still other writers mix these two meanings of diatonic, and this can lead to confusions and misconceptions
25.
Music of India
–
The music of India includes multiple varieties of Indian classical music, folk music, Filmi and Indian pop. Indias classical music tradition, including Hindustani music and Carnatic, has a history spanning millennia, Music in India began as an integral part of socio-religious life. The basic concepts of music includes shruti, swaras, alankar, raga. Its tonal system divides the octave into 22 segments called shrutis, not all equal, the Hindustani music tradition diverged from Carnatic music around the 13th-14th centuries CE. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. Classical genres are dhrupad, dhamar, khyal, tarana and sadra, the present of Carnatic music can be traced to the 14th - 15th centuries AD and thereafter. It originated in South India during the rule of Vijayanagar Empire, like Hindustani music, it is melodic, with improvised variations, but tends to have more fixed compositions. It consists of a composition with improvised embellishments added to the piece in the forms of Raga Alapana, Kalpanaswaram, Neraval and, in the case of advanced students, Raga, Tala. The main emphasis is on the vocals as most compositions are written to be sung, there are about 7.2 million ragas in Carnatic Music, with around 300 still in use today. Every December, the city of Chennai in India has its eight-week-long Music Season, Carnatic music has served as the foundation for most music in South India, including folk music, festival music and has also extended its influence to film music in the past 100–150 years or so. Light classical or semi-classical, among others, Thumri, Dadra, Ghazal, Chaiti, Kajri and Tappa, Rabindra Sangeet, also known as Tagore songs, are songs written and composed by Rabindranath Tagore. They have distinctive characteristics in the music of Bengal, popular in India, Sangeet means music, Rabindra Sangeet means music of Rabindra. Rabindra Sangeet used Indian classical music and traditional music as sources. Rabindranath Tagore was a figure in Indian music. Many singers in West Bengal and Bangladesh base their careers on the singing of Tagore musical masterpieces. The national anthem of India and national anthem of Bangladesh are Rabindra Sangeets, bihu is the festival of New Year of Assam falling on mid April. This is a festival of nature and mother earth where the first day is for the cows, second day is for the man. Bihu dances and songs accompanied by drums and wind instruments are essential part of this festival
26.
Swara
–
Svara, also spelled swara, is a Sanskrit word that connotes a note in the successive steps of the octave. More comprehensively, it is the ancient Indian concept about the dimension of musical pitch. The svara differs from sruti concept in Indian music, a sruti is the smallest gradation of pitch that human ear can detect and a singer or instrument can produce. A svara is the selected pitches from which the musician constructs the scales, melodies, the ancient Sanskrit text Natya Shastra identifies and discusses twenty two sruti and seven svara. The svara studies in ancient Sanskrit texts include the musical gamut and its tuning, categories of melodic models, the seven notes of the musical scale in Indian classical music are shadja, rishabh, gandhar, madhyam, pancham, dhaivat and nishad. These seven svara are shortened to Sa, Ri or Re, Ga, Ma, Pa, Dha, collectively these notes are known as the sargam. Sargam is the Indian equivalent to solfege, a technique for the teaching of sight-singing, the tone Sa is, as in Western moveable-Do solfège, the tonic of a piece or scale. The word svara is derived from the root svr which means to sound, the word is found in the Vedic literature, particularly the Samaveda, where it means accent and tone, or a musical note, depending on the context. The discussion there focusses on three accent pitch or levels, svarita, udatta and anudatta, however, scholars question whether the singing of hymns and chants were always limited to three during the Vedic era. The word also appears in other texts, according to Ananda Coomaraswamy, the roots svar, meaning to shine, and svr, meaning to sound or resound and also in some contexts to shine, are all related in the ancient Indian imagination. The svara concept is found in Chapter 28 of the ancient Natya Shastra, in the general sense svara means tone, and applies to chanting and singing. The basic svaras of Vedic chanting are udatta, anudatta and svarita, the musical octave is said to have evolved from the elaborate and elongated chants of Sama Veda, based on these basic svaras. Siksha is the subject deals with phonetics and pronunciation. Naradiya Siksha elaborately discusses the nature of svaras, both Vedic chants and the octave, the solfege is learnt in abbreviated form of svara, sa, ri or re, ga, ma, pa, dha, ni, sa. Of these, the first that is sa, and the fifth that is pa, are considered anchors that are unalterable, while the remaining have flavors that differs between the two major systems. A dot above a letter indicates that the note is one octave higher. Komal notes are indicated by an underscore, and the tívra Ma has a line on top which can be vertical or horizontal, the basic mode of reference is that which is equivalent to the Western Ionian mode or major scale. All relationships between pitches follow from this, in any seven-tone mode, R, G, D, and N can be natural or flat but never sharp, and the M can be natural or sharp but never flat, making twelve notes as in the Western chromatic scale
27.
Chromaticism
–
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. Chromaticism is in contrast or addition to tonality or diatonicism, chromatic elements are considered elaborations of or substitutions for diatonic scale members. Chromaticism is almost by definition an alteration of, an interpolation in or deviation from this basic diatonic organization, though these styles/methods continue to incorporate tonality or tonal elements, often the trends that led to these methods were abandoned, such as modulation. David Cope describes three forms of chromaticism, modulation, borrowed chords from secondary keys, and chromatic chords such as augmented sixth chords, the total chromatic is the collection of all twelve equally tempered pitch classes of the chromatic scale. Similarly, a chord is one which includes one or more such notes. A chromatic scale is one which proceeds entirely by semitones, so dividing the octave into twelve equal steps of one semitone each, linear chromaticism, is used in jazz, All improvised lines. will include non-harmonic, chromatic notes. In other words, at least one note of the chord is chromatically altered, any chord that is not chromatic is a diatonic chord. Examples, ♭II in first inversion is called the Neapolitan sixth chord, for example in C Major, F–A♭–D♭. The Neapolitan Sixth chord resolves to the V, the ♯IV diminished chord is the Sharpened subdominant with diminished seventh chord. The ♯IV diminished chord resolves to the V, the ♯IV can also be understood as the tonicization of V where it functions as viio7 of the V chord, written viio7/V. ♭VI, The Augmented sixth chord resolves to the V, in music theory, passus duriusculus is a Latin term which refers to chromatic line, often a bassline, whether descending or ascending. From the late 16th century onward, chromaticism has come to symbolize intense emotional expression in music, the chromatic symbolizing darkness doubt and grief and the diatonic light, affirmation and joy—this imagery has hardly changed for three centuries. Nevertheless the convention is a one and the emotional associations evoked by chromaticism have endured and indeed strengthened over the years. The rich harmonization of a chromatic scale in the Sleep Motif from Wagners opera Die Walkure. Donington speaks of this musics slow chromatic drift and its modulations as elusive as the drift into sleep itself. Chromaticism is often associated with dissonance, in the 16th century the repeated melodic semitone became associated with weeping, see, passus duriusculus, lament bass, and pianto. For instance, Catherine Clément calls the chromaticism in Wagners Isolde feminine stink, 20th-century music – Classical Passus duriusculus, Bach-Cantatas. com
28.
Atonality
–
Atonality in its broadest sense is music that lacks a tonal center, or key. The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, erialism arose partly as a means of organizing more coherently the relations used in the preserial free atonal music. Thus many useful and crucial insights about even strictly serial music depend only on such basic atonal theory, the term atonality was coined in 1907 by Joseph Marx in a scholarly study of tonality, which was later expanded into his doctoral thesis. Their music arose from what was described as the crisis of tonality between the nineteenth century and early twentieth century in classical music. The connections between harmonies were uncertain even on the lowest—chord-to-chord—level, on higher levels, long-range harmonic relationships and implications became so tenuous that they hardly functioned at all. At best, the probabilities of the style system had become obscure, at worst. The first phase, known as free atonality or free chromaticism, Works of this period include the opera Wozzeck by Alban Berg and Pierrot Lunaire by Schoenberg. This period included Bergs Lulu and Lyric Suite, Schoenbergs Piano Concerto, his oratorio Die Jakobsleiter and numerous smaller pieces, however, actual analysis of Weberns twelve-tone works has so far failed to demonstrate the truth of this assertion. One analyst concluded, following an examination of the Piano Variations. 27, that while the texture of this music may superficially resemble that of serial music. None of the patterns within separate nonpitch characteristics makes audible sense in itself, the point is that these characteristics are still playing their traditional role of differentiation. Twelve-tone technique, combined with the parametrization of Olivier Messiaen, would be taken as the inspiration for serialism, Atonality emerged as a pejorative term to condemn music in which chords were organized seemingly with no apparent coherence. In Nazi Germany, atonal music was attacked as Bolshevik and labeled as degenerate along with music produced by enemies of the Nazi regime. Many composers had their works banned by the regime, not to be played until after its collapse after World War II, after Schoenbergs death, Igor Stravinsky used the twelve-tone technique. The twelve-tone technique was preceded by Schoenbergs freely atonal pieces of 1908–1923, the twelve-tone technique was also preceded by nondodecaphonic serial composition used independently in the works of Alexander Scriabin, Igor Stravinsky, Béla Bartók, Carl Ruggles, and others. Additionally George Perle explains that, the free atonality that preceded dodecaphony precludes by definition the possibility of self-consistent, in other words, reverse the rules of the common practice period so that what was not allowed is required and what was required is not allowed. This is what was done by Charles Seeger in his explanation of dissonant counterpoint, kostka and Payne list four procedures as operational in the atonal music of Schoenberg, all of which may be taken as negative rules. Equal-interval chords are often of indeterminate root, mixed-interval chords are often best characterized by their interval content, Perle also points out that structural coherence is most often achieved through operations on intervallic cells
29.
Twelve-tone technique
–
All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th century composers, many important composers who had originally not subscribed to or even actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music. Schoenberg himself described the system as a Method of composing with twelve tones which are related only with one another and it is commonly considered a form of serialism. Schoenbergs countryman and contemporary Josef Matthias Hauer also developed a system using unordered hexachords or tropes—but with no connection to Schoenbergs twelve-tone technique. Other composers have created systematic use of the scale. The twelve tone technique was preceded by freely atonal pieces of 1908–23 which, though free, the twelve-tone technique was also preceded by nondodecaphonic serial composition used independently in the works of Alexander Scriabin, Igor Stravinsky, Béla Bartók, Carl Ruggles, and others. Oliver Neighbour argues that Bartók was the first composer to use a group of twelve notes consciously for a structural purpose, essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of modern musical practice, the ostinato. In Hauers breakthrough piece Nomos, Op. Schoenbergs idea in developing the technique was for it to replace those structural differentiations provided formerly by tonal harmonies, Some of these composers extended the technique to control aspects other than the pitches of notes, thus producing serial music. Some even subjected all elements of music to the serial process, the basis of the twelve-tone technique is the tone row, an ordered arrangement of the twelve notes of the chromatic scale. There are four postulates or preconditions to the technique which apply to the row, on which a work or section is based, no note is repeated within the row. The row may be subjected to interval-preserving transformations -—that is, it may appear in inversion, retrograde, or retrograde-inversion, the row in any of its four transformations may begin on any degree of the chromatic scale, in other words it may be freely transposed. A particular transformation together with a choice of transpositional level is referred to as a set form or row form, every row thus has up to 48 different row forms. However, not all prime series will yield so many variations because transposed transformations may be identical to each other. A simple case is the chromatic scale, the retrograde inversion of which is identical to the prime form. In the above example, as is typical, the retrograde inversion contains three points where the sequence of two pitches are identical to the prime row, thus the generative power of even the most basic transformations is both unpredictable and inevitable. Motivic development can be driven by such internal consistency, note that rules 1–4 above apply to the construction of the row itself, and not to the interpretation of the row in the composition. While a row may be expressed literally on the surface as thematic material, it need not be, however, individual composers have constructed more detailed systems in which matters such as these are also governed by systematic rules. The tone row chosen as the basis of the piece is called the prime series, untransposed, it is notated as P0
30.
20th-century music
–
During the 20th century there was a vast increase in the variety of music that people had access to. The 20th-century orchestra was far more flexible than its predecessors and used a wider variety of instruments. In Beethovens and Felix Mendelssohns time in the 19th century, the orchestra was composed of a standard core of instruments which was very rarely modified. The 20th century saw dramatic innovations in musical forms and styles, composers and songwriters experimented with new musical styles, such as genre fusions. As well, composers and musicians used new electric, electronic, in the 1980s, some styles of music, such as electronic dance music genres such as house music were created largely with synthesizers and drum machines. Faster modes of such as jet flight allowed musicians and fans to travel more widely to perform or hear shows. Busoni, Stravinsky, Schoenberg, and Schreker were already recognized before 1914 as modernists, composers such as Ravel, Milhaud, and Gershwin combined classical and jazz idioms. Late-Romantic and modernist nationalism was also in British, American. Composers such as Ralph Vaughan Williams, Aaron Copland, Carlos Chávez, in the middle of the century composers such as Harry Partch and Ben Johnston explored just intonation. There were three schools of neoclassicism, associated with Igor Stravinsky, Paul Hindemith, and Arnold Schoenberg. Similar sympathies in the half of the century are generally subsumed under the heading postmodernism. A compositional tradition arose in the mid-20th century—particularly in North America—called experimental music and its most famous and influential exponent was John Cage. According to Cage, an action is one the outcome of which is not foreseen. Minimalist music, involving a simplification of materials and intensive repetition of motives began in the late 1950s with the composers Terry Riley, Steve Reich, later, minimalism was adapted to a more traditional symphonic setting by composers including Reich, Glass, and John Adams. For more examples see List of 20th-century classical composers, contemporary classical music can be understood as belonging to the period that started in the mid-1970s to early 1990s, which includes modernist, postmodern, neoromantic, and pluralist music. However, the term may also be employed in a sense to refer to all post-1945 musical forms. Many composers working in the early 21st century were prominent figures in the 20th century, some younger composers such as Oliver Knussen, Thomas Adès, and Michael Daugherty did not rise to prominence until late in the 20th century. For more examples see List of 21st-century classical composers, in the early twentieth century, electronic devices were invented that were capable of generating sound electronically, without an initial mechanical source of vibration
31.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
32.
Major scale
–
The major scale or Ionian scale is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales, like many musical scales it is made up of seven notes, the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note. In Carnatic music, it is known as Dheerasankarabharanam, and in Hindustani classical music it is known as Bilaval, a major scale is a diatonic scale. The sequence of intervals between the notes of a scale is, whole, whole, half, whole, whole, whole, half where whole stands for a whole tone. A major scale may be seen as two tetrachords separated by a whole tone. Each tetrachord consists of two whole tones followed by a semitone, whole, whole, half, seven sharps or flats make major keys that may be more conveniently spelled with five flats or sharps. The term major scale is used in the names of some other scales whose first, third. The harmonic major scale has a minor sixth and it differs from the harmonic minor scale only by raising the third degree. The melodic major scale is the mode of the jazz minor scale. It is the Ionian scale with a sixth and minor seventh. The combined scale that goes as Ionian ascending and as melodic major descending is also called melodic major, the double harmonic major scale has a minor second and a minor sixth. It is the mode of the Hungarian minor scale. Ionian mode Major and minor Listen to and download harmonised Major scale piano MP3s The major scale for guitar in one position, with derivation
33.
Minor scale
–
This includes the natural minor, harmonic minor, and melodic minor scales. A minor scale differs from a scale in that the third degree in a major scale is a major third above the first degree. In other words, the degree in a major scale is one semitone higher than in a minor scale. The natural minor scale, also known as Aeolian scale, taken by itself, when a major scale and a natural minor scale have the same key signature, they are relative keys. A natural minor scale has the notes as its relative major scale. The functional fusion of minor, harmonic minor, and melodic minor scales. A harmonic minor scale differs from a minor scale in that the seventh note is raised one semitone both ascending and descending. Melodic minor scales raise both the sixth and seventh notes one semitone when ascending, and descends like the minor scale. In this case the scale is called A-minor, and this minor scale has no accidentals. A-minor is called the minor of C. Every major key has a minor, which starts on the sixth scale degree or step. For instance, the degree of F major is D. The relative natural minor of a major key always shares the notes, for example, F major consists of F, G, A, B♭, C, D, and E, while D natural minor consists of D, E, F, G, A, B♭. The natural minor scale can also be represented by the notation,12 ♭345 ♭6 ♭78 Each degree of the scale and their difference from the major scale is shown. Thus a number without a sharp or flat represents a major interval, a number with a flat represents a minor interval, and a number with a sharp represents an augmented interval. In this example, the mean, 1=unison, 2=major second, ♭3=minor third, 4=perfect fourth, 5=perfect fifth, ♭6=minor sixth, ♭7=minor seventh. In rock and popular examples of songs in Minor Keys include The Moody Blues Nights in White Satin, Blondies Call Me. The notes of the minor scale are the same as the natural minor except that the seventh degree is raised by one semitone
34.
Bebop scale
–
The bebop scales are frequently used in jazz improvisation and are derived from the modes of the major scale, the melodic minor scale, and the harmonic minor scale. David Baker, one of the worlds finest jazz educators, named these scales the bebop scales because they were used so often by artists from the Bebop Era. These artists include Charlie Christian, Charlie Parker, Lester Young, there are four types of frequently used bebop scales, the bebop dominant scale, the bebop Dorian scale, the bebop major scale, and the bebop melodic minor scale. Each of these scales has a chromatic passing tone. The bebop dominant scale is derived from the Mixolydian mode and has a passing tone between the 7th and the root. It has all the notes in both the scale and the Mixolydian scale of the same root. This scale is used over dominant 7th chords and all extended dominant chords. When someone says theyre playing the scale, this is the one theyre talking about. The bebop Dorian scale is derived from the Dorian mode and has a passing tone between the minor 3rd and the perfect 4th. It has all the notes in both the Dorian scale and the Mixolydian scale of the same root and it is the 5th mode of the bebop dominant scale. The bebop major scale is derived from the Ionian mode and has a passing tone between the 5th and 6th notes. This scale is used over major 6th chords and major 7th chords. The bebop melodic minor scale is derived from the form of the melodic minor scale and has a chromatic passing tone between the 5th and 6th notes. It has all the notes of both the form of the melodic minor and the Harmonic Minor of the same root. This scale is used over minor 6th chords. These scales are listed in David N and they are also included, with the exception of the Dorian bebop scale, in Roni Ben-Hurs book Talk Jazz, A Comprehensive Collection of Bebop Studies, which is derived from the work of Barry Harris. Ben-Hur further elaborates on the concept of placing additional chromatic passing tones between other notes in the scales, the bebop harmonic minor scale is derived from the harmonic minor scale and has a chromatic passing tone between the 6th and the 7th notes. It contains all of the notes of both the Harmonic Minor and the Natural Minor of the same root and it can be used on all three chords of a minor II-V-I progression
35.
Enharmonic scale
–
In music theory, an enharmonic scale is an gradual progression by quarter tones or any scale proceeding by quarter tones. The enharmonic scale uses dieses nonexistent on most keyboards, since modern standard keyboards have only half-tone dieses. More broadly, a scale is a scale in which there is no exact equivalence between a sharpened note and the flattened note it is enharmonically related to, such as in the quarter tone scale. As an example, F♯ and G♭ are equivalent in a chromatic scale, musical keyboards which distinguish between enharmonic notes are called by some modern scholars enharmonic keyboards. Consider a scale constructed through Pythagorean tuning, by juxtaposing these two slightly different scales, it is possible to create an enharmonic scale. A pair of notes are separated by a Pythagorean comma
36.
Jazz scale
–
A jazz scale is any musical scale used in jazz. Many jazz scales are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic, some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales. One important feature of jazz is what theorists call the principles of chord-scale compatibility, in classical major-mode harmony, chords typically belong to the same scale. In jazz, a four-chord progression may use four different scales, for instance, in C major, a jazz musician may alter the V chord G-B-D-F with a flattened fifth, producing G-B-D♭-F. An improviser might then choose a scale containing these four notes, such as G whole tone, G octatonic, in each case the scale contains the chord tones G-B-D♭-F and is said to be compatible with it. This notion of chord scale compatibility marks a fundamental difference between jazz harmony and traditional classical practice. An avoid note is a note in a scale that is considered, in jazz theory and practice, too dissonant to be played against the underlying chord. For example, in harmony the fourth, and thus 11th, is an avoid note. Avoid notes are often a second above a chord tone or a perfect fourth above the root of the chord. Can get a sense of the difference between classical and non-classical harmony from looking at how they deal with dissonances. Classical treats all notes that dont belong to the chord as potential dissonances to be resolved, non-classical harmony just tells you which note in the scale to avoid, meaning that all the others are okay. The number of available to improvising musicians continues to expand. As modern techniques and musical constructions appear, jazz players find the ones they can put into compositions or use as material for melodic exploration, prominent examples are the seven modes of the diatonic major scale and added-note scales. Compare each of the modes to the scale for clues as to the subtle differences between them. Ionian is based on the 1st degree of the scale, Dorian on the 2nd, Phrygian on the 3rd. Bebop scales add a single chromatic passing tone to the 7 note major scale, the added passing tone creates an 8 tone scale that fits rhythmically evenly within a 4/4 measure of eight 8th notes, thus making it useful in practicing. When an 8th note bebop scale run starts on the beat from a chord tone the other chord notes will also fall on the beats, as a result, all of the non-chord tones will fall on the upbeats and become passing tones. A great deal of modern jazz harmony arises from the modes of the form of the melodic minor scale
37.
Synthetic scale
–
In music, a synthetic scale is a scale that derives from a traditional diatonic major scale by altering of one degree by a semitone in either direction. These synthetic pitch collections may serve as basic melodic or harmonic material for a passage of music, however, the hundreds of available scales cause Murray Barbour to propose that, The whole problem is of greater theoretical interest than of practical worth. Scriabins Mystic chord, when considered as the Prometheus scale, is an example of a synthetic chord—in that it is a tone scale with one degree altered. However, it was not the generating element to Scriabins music, in C, the scale consists of the notes C, D, E, F♯, A, B♭, C. The semitone steps for this scale are 2,2,2,3,1,2, by adding a G to the scale, one would end up with the Lydian♭VII, the fourth degree of the Melodic Minor scale. The pitches of synthetic scales may duplicate pre-existing scales, though their derivation is different, harmonic major scale Jazz minor scale Yamaguchi, Masaya. The Complete Thesaurus of Musical Scales, revised edition
38.
Acoustic scale
–
In music, the acoustic scale, overtone scale, Lydian dominant scale, or Lydian ♭7 scale, is a seven-note synthetic scale which, starting on C, contains the notes, C, D, E, F♯, G, A and B♭. This differs from the scale in having an augmented fourth. It is the mode of the melodic minor ascending scale. The term acoustic scale is used to describe a particular mode of this seven note collection and is sometimes used to describe the collection as a whole. In traditional music, the overtone scale persists in the music of peoples of South Siberia, the acoustic scale appears sporadically in nineteenth century music, notably in the works of Franz Liszt and Claude Debussy. It also plays a role in the music of composers, including Igor Stravinsky, Béla Bartók, and Karol Szymanowski. The acoustic scale is also common in the music of Nordeste. It plays a role in jazz harmony, where it is used to accompany dominant seventh chords starting on the first scale degree. (That is, the scale C-D-E-F♯-G-A-B♭ is used to accompany the chord C-E-G-B♭, the term acoustic scale was coined by Ernő Lendvai in his analysis of the music of Béla Bartók. The name acoustic scale refers to the resemblance to the eighth through 14th pitch-classes in the harmonic series. Starting on C1, the series goes C1, C2, G2, C3, E3, G3, B♭3, C4, D4, E4, F♯4*, G4, A4*, B♭4*, B4. The bold notes spell out a scale on C4. The acoustic scale may have formed from a triad with an added minor seventh and raised fourth and major second. Another way to regard the acoustic scale is that it occurs as a mode of the minor scale, starting on the fourth degree. Hence the acoustic scale starting on D is D, E, F♯, G♯, A, B, C, D, the F♯ turns the D minor tetrachord into a major tetrachord, and the G♯ turns it Lydian. Therefore, many occurrences of this scale in jazz may be regarded as unsurprising, chord-scale system Jazz scale Vachaspati The Acoustic Scale or Lydian Dominant Scale mapped out for guitar The Acoustic scale, all keys, for ocarina
39.
Adonai malakh mode
–
In music, the Adonai malakh scale is a musical mode used in Jewish music. Adonai malakh, a line from Psalm 93, is set using the Adonai malakh scale at the close of the introduction to the Kabalat Shabat and it adds flats as it goes higher, and its pitch set is similar to the Persian Dastgāh-e Māhur and Russian Obikhod scale. Freygish mode Misheberak mode Moloch scale Ukrainian Dorian scale Hewitt, Michael
40.
Alpha scale
–
The α scale is a non-octave-repeating musical scale. In one version it splits the perfect fifth into nine parts of approximately 78.0 cents. In another it splits the minor third into two parts, or four equal parts of approximately 78 cents each Play. At 78 cents per step, this totals approximately 15.385 steps per octave, the scale step may be precisely derived from using 9,5 Play to approximate the interval 3, 2/5,4, which equals 6,5 Play. It was invented by Wendy Carlos and used on her album Beauty in the Beast, though it does not have an octave, the alpha scale produces, wonderful triads, and the beta scale has similar properties but the sevenths are more in tune. However, the scale has, excellent harmonic seventh chords. using the inversion of 7/4. Play More accurately the alpha scale step is 77.965 cents, bohlen–Pierce scale Beta scale Gamma scale Delta scale
41.
Altered scale
–
In jazz, the altered scale or altered dominant scale is a seven-note scale that is a dominant scale where all non-essential tones have been altered. The natural forms of the tones are not present in the scale. This means it contains no major ninth, no perfect eleventh, no perfect fifth, an altered scale on C contains the notes, C, D♭ D♯ E F♯ or G♭ G♯ or A♭ B♭. This is written below in musical notation with the essential chordtones coloured black, the altered scale is made by the sequence, semitone – tone – semitone – tone – tone – tone – tone. For example, C7alt supplants C7#5♭9#9#11, C7-5+5-9+9, Caug7-9+9+11, etc, the altered scale is also enharmonically the C Locrian mode, C-D♭-E♭-F-G♭-A♭-B♭, with F changed to F♭. For this reason, the scale is sometimes called the super Locrian mode. It is also enharmonically the seventh mode of the melodic minor scale. The super locrian scale is obtained by flattening the fourth note of the diatonic Locrian mode, with a tonic of C, it is spelt, C. D♭. E♭. F♭. G♭. A♭. For example, the altered scale C-D♭-D♯-E-G♭-A♭-B♭ shares all but its A♭ with the octatonic scale C-D♭-D♯-E-F♯-G-A-B♭ and this accounts for some of its popularity in both the classical and jazz traditions. The altered scale appears sporadically in the works of Debussy and Ravel, Jazz scale Bahha, Nor Eddine, and Robert Rawlins. Jazzology, The Encyclopedia of Jazz Theory for All Musicians, edited by Barrett Tagliarino, voice-leading parsimony in the music of Alexander Scriabin, Journal of Music Theory 42, no. Scales for Jazz Improvisation, A Practice Method for All Instruments, lebanan, Indiana, Studio P/R, Miami, Warner Bros. Modal Jazz Composition & Harmony, volume 1, the Altered Scale In Jazz Improvisation. “The Consecutive-Semitone Constraint on Scalar Structure, A Link Between Impressionism and Jazz. ”Journal of Music Theory 48, super Locrian arranged for Guitar as 3 note per string and 3 octave patterns The altered scale for guitar
42.
Beta scale
–
The β scale is a non-octave-repeating musical scale. In one version, it splits the perfect fifth into eleven equal parts of 63.8 cents each, another interpretation splits the perfect fourth into two equal parts, or eight equal parts of approximately 64 cents each Play. This totals approximately 18.8 steps per octave and it may be derived from using 11,6 Play to approximate the interval 3, 2/5,4, which equals 6,5 Play. It was invented by and is a signature of Wendy Carlos, the delta scale may be regarded as the beta scales reciprocal since it is, as far down the circle from α as β is up. 19 equal temperament Bohlen–Pierce scale Gamma scale Beta chord Carlos, Wendy, three Asymmetric Divisions of the Octave, WendyCarlos. com
43.
Blues scale
–
The term blues scale refers to several different scales with differing numbers of pitches and related characteristics. The hexatonic, or six-note, blues scale consists of the pentatonic scale plus the ♭5th degree. At its most basic, a version of this blues scale is commonly used over all changes in a twelve bar blues progression. Likewise, in jazz theory, its use is commonly based upon the key rather than the individual chord. The evolution of this scale may be traced back to Asia through native North America with the addition of the flat 5 blue note, greenblatt defines two blues scales, the major and the minor. The major blues scale is C, D, D♯/E♭, E, G, A, the latter is the hexatonic scale. Steven Smith argues that, to assign blue notes to a scale is a momentous mistake, then, after all. It is the 2nd mode of the Harmonic Minor scale and these blue notes represent the influence of African scales on this music. A different and non-formal way of playing the scale is possible by use of quarter step, added to 3rd and 7th degree of minor blues scale. For example, the scale Blues A minor will be as, A B C D E F# G. Also, guitar players can add a quarter step to a given note by bend technique. In jazz, the scale is used by improvising musicians in a variety of harmonic contexts. It can be played for the duration of a twelve bar blues progression constructed off the root of the first dominant seventh chord. For example, a C hexatonic blues scale could be used to improvise a solo over a C blues chord progression, the blues scale can also be used to improvise over a minor chord. Jazz educator Jamey Aebersold describes the sound and feel of the scale as ‘funky, ’ ‘down-home, ’ ‘earthy
Play (help·info)). Due to a different tuning technique, the twelve semitones in this scale have two slightly different sizes. Thus, the scale is not perfectly symmetric. Many other tuning systems, developed in the ensuing centuries, share a similar asymmetry.
Definitions from Wiktionary
Media from Wikimedia Commons
Quotations from Wikiquote
Textbooks from Wikibooks
Data from Wikidata
