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C♯ (musical Note)
C (C-sharp) is a musical note lying a chromatic semitone above C and a diatonic semitone below D; it is the second semitone of the solfège. C-sharp is thus enharmonic to D. It is the second semitone in the French solfège and is known there as ''do dièse''. In some European notations, it is known as Cis. In equal temperament it is also enharmonic with B (B-double sharp/Hisis). When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of C4 (the C above middle C) is about 277.183 Hz. See pitch (music) for a discussion of historical variations in frequency. Designation by octave Scales Common scales beginning on C * C major: C D E F G A B C * C natural minor: C D E F G A B C * C harmonic minor: C D E F G A B C * C melodic minor ascending: C D E F G A B C * C melodic minor descending: C B A G F E D C Diatonic scales * C Ionian: C D E F G A B C * C Dorian: C D E F G A B C * C Phrygian: C D E F G A B C * C Lydian: C D E F G A B C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chromatic Semitone
In modern Western tonal music theory an augmented unison or augmented prime is the interval between two notes on the same staff position, or denoted by the same note letter, whose alterations cause them, in ordinary equal temperament, to be one semitone apart. In other words, it is a unison where one note has been altered by a half-step, such as B and B or C and C. The interval is often described as a chromatic semitone. The term, in its French form ''unisson superflu'', appears to have been coined by Jean-Philippe Rameau in 1722, who also called this interval a minor semitone (''semiton mineur'').Gene Henry Anderson, "Musical Terminology in J.-P. Rameau's ''Traité de l'harmonie'': A Study and Glossary Based on an Index". PhD diss. (Iowa City: University of Iowa, 1981): 196. Historically, this interval, like the tritone, is described as being "mi contra fa", and therefore is the "diabolus in musica" (the Devil in music). In 12-tone equal temperament, it is the enharmonic equiva ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
C-sharp Minor
C-sharp minor is a minor scale based on C, with the pitches C, D, E, F, G, A, and B. Its key signature consists of four sharps. The C-sharp natural minor scale is: : Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The C-sharp harmonic minor and melodic minor scales are: : : Its relative major is E major. Its parallel major, C-sharp major, is usually written instead as the enharmonic key of D-flat major, since C-sharp major’s key signature with seven sharps is not normally used. Its enharmonic equivalent, D-flat minor, having eight flats including the B, has a similar problem. Therefore, C-sharp minor is often used as the parallel minor for D-flat major. (The same enharmonic situation occurs with the keys of A-flat major and G-sharp minor.) Classical music in this key There are only two known symphonies in the 18th century written in this key. One of them is by Joseph Martin Kraus, who appears ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Augmented Scale
Lydian may refer to: * Lydians, an ancient people of Anatolia * Lydian language, an ancient Anatolian language * Lydian alphabet ** Lydian (Unicode block) * Lydian (typeface), a decorative typeface * Lydian dominant scale or acoustic scale, a musical scale ** Lydian mode The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. : Because of the importance of the major scale in modern musi ..., a mode derived from ancient Greek music See also * Ludian (other) * Lydia (other) {{disambiguation Language and nationality disambiguation pages ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian ♭2 Scale
The Dorian 2 scale, also known as Phrygian 6, or the Cappadocian Scale is the second mode of the jazz minor scale (or the ascending melodic minor scale). It is on the second degree of the jazz minor scale. Without the minor second above the root, the scale would just be the Dorian mode. The reason it is also known as Phrygian 6 is because if the scale did not have the major 6th then it would be enharmonic with the Phrygian mode. This scale is commonly used in Assyrian music, most especially in the folk dance genre. Though to add color and to retain the Phrygian tradition of Assyrian music, the major sixth may at times be simultaneously altered to the minor sixth In Western classical music, a minor sixth is a musical interval encompassing six staff positions (see Interval number for more details), and is one of two commonly occurring sixths (the other one being the major sixth). It is qualified as '' ... during the course of the composition. Rimmer, Joan, ''Ancient Mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jazz Minor Scale
Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th centuries, with its roots in blues and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals. As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 (or diminished), and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales. Theory One important feature of jazz is what theorists call "the principles of chord-scale compatibility": the idea that a sequence of chords will generate a sequence of compatible scales. In classical major-mode harmony, chords typically belong to the same scale. For example, a ii–V–I progression in C major will typically use only the notes of the C diatonic collection. In jazz, a four-chord progression may use fou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Locrian Mode
The Locrian mode is the seventh mode of the major scale. It is either a musical mode or simply a diatonic scale. On the piano, it is the scale that starts with B and only uses the white keys from there. Its ascending form consists of the key note, then: half step, whole step, whole step, half step, whole step, whole step, whole step. :: History ''Locrian'' is the word used to describe the inhabitants of the ancient Greek regions of Locris. Although the term occurs in several classical authors on music theory, including Cleonides (as an octave species) and Athenaeus (as an obsolete ''harmonia''), there is no warrant for the modern usage of Locrian as equivalent to Glarean's Hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory through the 18th century, or modern scholarship on ancient Greek musical theory and practice. The name first came to be applied to modal chant theory after the 18th century, when it was used to describe the mode newly-numb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Mode
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the white piano keys, it is the scale that starts with A. Its ascending interval form consists of a ''key note, whole step, half step, whole step, whole step, half step, whole step, whole step.'' That means that, in A aeolian (or A minor), you would play A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A. : History The word ''Aeolian'', like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of Aeolis (Αἰολίς)—the Aeolian Islands and adjacent coastal district of Asia Minor. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleonides) for what Aristoxenus called the Low Lydian ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mixolydian Mode
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek ''harmoniai'' or ''tonoi'', based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode. (The Hypomixolydian mode of medieval music, by contrast, has no modern counterpart.) The modern diatonic mode is the scale forming the basis of both the rising and falling forms of Harikambhoji in Carnatic music, the classical music form of southern India. Greek Mixolydian The idea of a Mixolydian mode comes from the music theory of ancient Greece. The invention of the ancient Greek Mixolydian mode was attributed to Sappho, the poet and musician. However, what the ancient Greeks thought of as Mixolydian is very different from the modern interpretation of the mode. The prefix ''mixo''- (μιξο-) means "half", referring to its resemblance to the Lydian mode. In Greek theory, the Mixolydian ''tonos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Mode
The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. : Because of the importance of the major scale in modern music, the Lydian mode is often described as the scale that begins on the fourth scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree raised half a step. This sequence of pitches roughly describes the scale underlying the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B but in practice more commonly featuring B. The use of the B as opposed to B would have made such piece in the modern day F major scale. Ancient Greek Lydian The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek music theory, there was a Lydian scale or "octave species" extending from ''parhypate hypaton'' to ''trite diezeugmenon'', equivalent in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrygian Mode
The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek ''tonos'' or ''harmonia,'' sometimes called Phrygian, formed on a particular set of octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter. Ancient Greek Phrygian The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the '' Elements'' by Aristoxenos (fl. c. 335 BC), a disciple of Aristotle. The Phrygian ''tonos'' or ''harmonia'' is named after the ancient kingdom of Phrygia in Anatolia. In Greek music theory, the ''harmonia'' given this name was based on a ''tonos'', in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone. : ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian Mode
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek ''harmoniai'' (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself. : Greek Dorian mode The Dorian mode (properly ''harmonia'' or ''tonos'') is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the ''hypate meson'' to the ''nete diezeugmenon''. In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third. : In the chromatic genus, they are semitone–semitone–minor third. : In the diatonic genus, they are semitone–tone–tone. : In the diatonic genus, the sequence over the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
