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D (musical Note)
D basicmusictheory.com is a musical note a above C, and is known as Re within the fixed-Do solfege system. Its enharmonic equivalents are C (C-double sharp) and E (E-double flat). When calculated in equal temperament with a reference of A above middle C as 440 H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Second
In Western music theory, a major second (sometimes also called whole tone or a whole step) is a second spanning two semitones (). A second is a musical interval encompassing two adjacent staff positions (see Interval number for more details). For example, the interval from C to D is a major second, as the note D lies two semitones above C, and the two notes are notated on adjacent staff positions. Diminished, minor and augmented seconds are notated on adjacent staff positions as well, but consist of a different number of semitones (zero, one, and three). The major second is the interval that occurs between the first and second degrees of a major scale, the tonic and the supertonic. On a musical keyboard, a major second is the interval between two keys separated by one key, counting white and black keys alike. On a guitar string, it is the interval separated by two frets. In moveable-do solfège, it is the interval between ''do'' and ''re''. It is considered a melo ... [...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. : In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Key Frequencies
This is a list of the fundamental frequencies in hertz (cycles per second) of the keys of a modern 88-key standard or 108-key extended piano in twelve-tone equal temperament, with the 49th key, the fifth A (called A4), tuned to 440 Hz (referred to as A440). Since every octave is made of twelve steps and since a jump of one octave doubles the frequency (for example, the fifth A is 440 Hz and the sixth A is 880 Hz), each successive pitch is derived by multiplying (ascending) or dividing (descending) the frequency of the previous pitch by the twelfth root of two (approximately 1.059463). For example, to get the frequency one semitone up from A4 (A4), multiply 440 by the twelfth root of two. To go from A4 to B4 (up one whole tone, or two semitones), multiply 440 twice by the twelfth root of two (or once by the sixth root of two, approximately 1.122462). To go from A4 to C5 (which is a minor third), multiply 440 three times by the twelfth root of two (or once by the fourth root of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Altered Scale
In jazz, the altered scale, altered dominant scale, Palamidian Scale, or Super Locrian scale is a seven-note scale that is a dominant scale where all non-essential tones have been altered. This means that it comprises the three irreducibly essential tones that define a dominant seventh chord, which are root, major third, and minor seventh and that all other chord tones have been altered. These are: * the fifth is altered to a 5 and a 5 * the ninth is altered to a 9 and a 9 *the eleventh is altered to a 11 (equivalent to a 5) *the thirteenth is altered to a 13 (equivalent to a 5) The altered forms of some of the non-essential tones coincide (augmented eleventh with diminished fifth and augmented fifth with minor thirteenth) meaning those scale degrees are enharmonically identical and have multiple potential spellings. The natural forms of the non-essential tones are not present in the scale. This means it lacks a major ninth, a perfect eleventh, a perfect fifth, and a major thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Half Diminished Scale
The half diminished scale or Sisyphean Scale is a seven-note musical scale. It is more commonly known as the Locrian 2 scale, a name that avoids confusion with the diminished scale and the half-diminished seventh chord (minor seventh, diminished fifth). It is the sixth mode of the ascending form of the melodic minor scale (or jazz scale). : In the key of B, the half-diminished scale built on C is associated with C m75, which functions as a ii 7 chord in minor (see chord-scale system The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales.Mervyn Cooke, David Horn (2003). '' The Cambridge companion to jazz'', p.266. . The system has been widely used since the 1970s and is "gen ...). References Heptatonic scales Modes (music) Hemitonic scales Tritonic scales {{music-theory-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Dominant Scale
The Hindu scale (also known as the Aeolian dominant scale, Olympian Scale, Mixolydian 6 r 13 Aeolian major, and melodic major) is the fifth mode of the melodic minor scale. It is named such because its sound derives from having a dominant seventh chord on the tonic in the context of what is otherwise the Aeolian mode. It corresponds to Raga Charukeshi in Indian Classical music. This scale can also be obtained by raising the third degree of the natural minor scale or lowering the sixth degree of the mixolydian scale. : The name ''melodic major'' also refers to the combined scale that proceeds as natural major ascending and as Aeolian dominant descending. : ''The Mask of Zorro'' song "I Want to Spend My Lifetime Loving You", was composed in the Aeolian dominant scale mode. It was written by film composer James Horner. The Aeolian dominant scale mode can also be heard in the song ''Valar Morghulis'' of the Game of Thrones: Season 2 soundtrack, composed by Ramin Djawadi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Dominant 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 scale ... [...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, a mode derived from ancient Greek music See also * Ludian (other) * Lydia (other) Lydia was an Iron Age kingdom of western Asia Minor. Lydia may also refer to: Arts and media Music * Lydia (band), an indie rock band * Lydia (singer) (born 1980), Spanish pop singer * "Lydia" (Fur Patrol song), 2000 * "Lydia" (Highly Suspect ... {{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 during the course of the composition. Rimmer, Joan, ''Ancient Musical Instruments of Western Asia in the British Museum'', London 1969, p. 39.f.pl.21, 17, 18, 199 See also * Jazz scale A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, ... [...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 four di ... [...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-numbe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
