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Axis System
In music, the axis system is a system of analysis originating in the work of Ernő Lendvai, which he developed in his analysis of the music of Béla Bartók. The axis system is "concerned with harmonic and tonal substitution",Cooper, p.29 and posits a novel type of functional relationship between tones and chords. Lendvai's analyses aim to show how chords and tones related by the intervals of a minor third and tritone can function as tonal substitutes for one another, and do so in many of Bartók's compositions. Introduction In classical and common-practice systems of harmony, certain chord substitutions are recognised and are commonly made use of by composers and arrangers: "certain chords have been able to act as substitutes for others; for example, the submediant chord ... can replace the tonic, most familiarly in an interrupted cadence." In his analyses of Bartók's music, Lendvai identifies a novel set of tonal substitutions; substitutions that relate chords and keys in a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music
Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspect of all human societies, a cultural universal. While scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into academic disciplines, criticism, philosophy, and psychology. Music may be performed or improvised using a vast range of instruments, including the human voice. In some musical contexts, a performance or composition may be to some extent improvised. For instance, in Hindustani classical music, the performer plays spontaneously while following a partially defined structure and using characteristic motifs. In modal jazz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cartesian Coordinate System
A Cartesian coordinate system (, ) in a plane is a coordinate system that specifies each point uniquely by a pair of numerical coordinates, which are the signed distances to the point from two fixed perpendicular oriented lines, measured in the same unit of length. Each reference coordinate line is called a ''coordinate axis'' or just ''axis'' (plural ''axes'') of the system, and the point where they meet is its ''origin'', at ordered pair . The coordinates can also be defined as the positions of the perpendicular projections of the point onto the two axes, expressed as signed distances from the origin. One can use the same principle to specify the position of any point in three-dimensional space by three Cartesian coordinates, its signed distances to three mutually perpendicular planes (or, equivalently, by its perpendicular projection onto three mutually perpendicular lines). In general, ''n'' Cartesian coordinates (an element of real ''n''-space) specify the point in an ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alan Bush
Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works. Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' cho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coltrane Changes
Coltrane changes (Coltrane Matrix or cycle, also known as chromatic third relations and multi-tonic changes) are a harmonic progression variation using substitute chords over common jazz chord progressions. These substitution patterns were first demonstrated by jazz musician John Coltrane on the albums ''Bags & Trane'' (on the track "Three Little Words") and '' Cannonball Adderley Quintet in Chicago'' (on "Limehouse Blues"). Coltrane continued his explorations on the 1960 album ''Giant Steps'' and expanded on the substitution cycle in his compositions "Giant Steps" and "Countdown", the latter of which is a reharmonized version of Eddie Vinson's "Tune Up". The Coltrane changes are a standard advanced harmonic substitution used in jazz improvisation. Function The changes serve as a pattern of chord substitutions for the ii–V–I progression (supertonic– dominant– tonic) and are noted for the tonally unusual root movement by major thirds (either up or down by a major third int ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Acoustic Scale
In music, the acoustic scale, overtone scale, Lydian dominant scale, Lydian 7 scale, or the Pontikonisian Scale is a seven-note synthetic scale. : This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F–G–A–B) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F–G–A–B–C–D). History In traditional music, the overtone scale persists in the music of peoples of South Siberia, especially in Tuvan music. Overtone singing and the sound of the Jew's harp are naturally rich in overtones, but melodies performed on the igil (bowed instrument distantly related to the violin) and plucked string instruments such as the doshpuluur or the chanzy also often follow the overtone sc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Wilson (music Theorist)
Paul Wilson is a music theorist and Professor of Music Theory and Composition at the University of Miami Frost School of Music, in the United States. He holds a B.A. from Harvard University, a M.A. from the University of Hawaii, and M.Phil. and Ph.D. degrees from Yale University, where he studied with Allen Forte. Paul Wilson is a professor of theory and composition at the University of Miami Frost School of Music where he chairs the committee to design and implement the Frost Experiential Music Curriculum. An expert on Schenkerian theory, he also teaches traditional undergraduate music theory and musicianship, counterpoint, analysis, analysis of 20th-century music, and music-theory pedagogy. He is an internationally recognized expert on Hungarian composer Béla Bartók. In 1992, Yale University Press published his ''The Music of Béla Bartók''. In this book, Wilson begins by discussing a number of fundamental musical materials that Bartók employed throughout his oeuvre. Using ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
German Sixth
In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods. Conventionally used with a predominant function ( resolving to the dominant), the three most common types of augmented sixth chords are usually called the ''Italian sixth'', the ''French sixth'', and the ''German sixth''. Augmented sixth interval The augmented sixth interval is typically between the sixth degree of the minor scale, , and the raised fourth degree, . With standard voice leading, the chord is followed directly or indirectly by some form of the dominant chord, in which both and have resolved to the fifth scale degree, . This tendency to resolve outwards to is why the interval is spelled as an augmented sixth, rather than enharmonically as a minor seventh ( and ). Alth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tritone Substitution
The tritone substitution is a common chord substitution found in both jazz and classical music. Where jazz is concerned, it was the precursor to more complex substitution patterns like Coltrane changes. Tritone substitutions are sometimes used in improvisation—often to create tension during a solo. Though examples of the tritone substitution, known in the classical world as an augmented sixth chord, can be found extensively in classical music since the Renaissance period, they were not heard until much later in jazz by musicians such as Dizzy Gillespie and Charlie Parker in the 1940s, as well as Duke Ellington, Art Tatum, Coleman Hawkins, Roy Eldridge and Benny Goodman. The tritone substitution can be performed by exchanging a dominant seventh chord for another dominant seven chord which is a tritone away from it. For example, in the key of C major one can use D7 instead of G7. (D is a tritone away from G). Summary In tonal music, a conventional perfect cadence consists of a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Girl From Ipanema
"Garota de Ipanema" ("The Girl from Ipanema") is a Brazilian bossa nova and jazz song. It was a worldwide hit in the mid-1960s and won a Grammy for Record of the Year in 1965. It was written in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinícius de Moraes. English lyrics were written later by Norman Gimbel. The first commercial recording was in 1962, by Pery Ribeiro. The Stan Getz recording featuring the vocal debut of Astrud Gilberto became an international hit. This version had been shortened from the version on the album ''Getz/Gilberto'' (recorded in March 1963, released in March 1964), which had also included the Portuguese lyrics sung by Astrud's then husband João Gilberto. In the US, the single peaked at number five on the ''Billboard'' Hot 100, and went to number one for two weeks on the Easy Listening chart. Overseas it peaked at number 29 in the United Kingdom, and charted highly throughout the world. Numerous recordings have been used i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio Carlos Jobim
Antonio is a masculine given name of Etruscan origin deriving from the root name Antonius. It is a common name among Romance language-speaking populations as well as the Balkans and Lusophone Africa. It has been among the top 400 most popular male baby names in the United States since the late 19th century and has been among the top 200 since the mid 20th century. In the English language it is translated as Anthony, and has some female derivatives: Antonia, Antónia, Antonieta, Antonietta, and Antonella'. It also has some male derivatives, such as Anthonio, Antón, Antò, Antonis, Antoñito, Antonino, Antonello, Tonio, Tono, Toño, Toñín, Tonino, Nantonio, Ninni, Totò, Tó, Tonini, Tony, Toni, Toninho, Toñito, and Tõnis. The Portuguese equivalent is António (Portuguese orthography) or Antônio (Brazilian Portuguese). In old Portuguese the form Antão was also used, not just to differentiate between older and younger but also between more and less important. In Galician ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music For Strings, Percussion And Celesta
''Music for Strings, Percussion and Celesta'', Sz. 106, BB 114 is one of the best-known compositions by the Hungarian composer Béla Bartók. Commissioned by Paul Sacher to celebrate the tenth anniversary of the chamber orchestra '' Basler Kammerorchester'', the score is dated September 7, 1936. The work was premiered in Basel, Switzerland, on January 21, 1937 by the chamber orchestra conducted by Sacher, and was published the same year by Universal Edition. Analysis As its title indicates, the piece is written for string instruments (violins, violas, cellos, double basses, and harp), percussion instruments (xylophone, snare drum, cymbals, tam-tam, bass drum, and timpani) and celesta. The ensemble also includes a piano, which, due to the hammer mechanisms inside, is also a percussion instrument; the celesta player joins the pianist in some four-hands passages. Bartók divides the strings into two ensembles which, he directs, should be placed antiphonally on opposite sides of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant (music)
In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the ''dominant'' because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)". The triad built on the dominant note is called the dominant chord. This chord is said to have dominant function, which means that it creates an instability that requires the tonic for resolution. Dominant triads, seventh chords, and ninth chords typically have dominant function. Leading-tone triads and leading-tone seventh chords may also have dominant function. Dominant chords In music theory, the dominant triad is a major chord, symbolized by the Roman numeral "V" in the major scale. In the natural minor scale, the triad is a minor chord, denoted by "v". However, in a minor key, the seventh scale degree is often raised by a half step ( to ), creating a major chord. These chords may also appear as seventh chords: ty ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
