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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] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Minor Scale
In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form. In each of these scales, the first, third, and fifth scale degrees form a minor triad (rather than a major triad, as in a major scale). In some contexts, ''minor scale'' is used to refer to any heptatonic scale with this property (see Related modes below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth degree of its relative major scale. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: : Because of this, the key of A minor is called the ''relative minor'' of C major. Every major key has a relative minor, which starts on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joan Rimmer
Joan Rimmer (11 December 1918 – 29 December 2014) was an English musicologist who specialised in the history of musical instruments (especially the Irish harp) and in historical dance forms. She was also a pioneer in ethnomusicology who presented, in the course of 30 years, numerous programmes on traditional music from around to the world on BBC radio. Life and career Rimmer was born in the Battersea district of London, to Marion (nee Layzell), a bookkeeper, and Edmund Rimmer, a musician, and grew up in Kensington. At age 12, she gained a scholarship to the Royal College of Music where she later studied piano with Cyril Smith and won the Hopkinson Gold Medal, graduating in 1939. She became a music teacher at Putney High School and Roehampton Training College while also giving public piano recitals. In 1948, Rimmer began a long association with the BBC, which lasted about 30 years. Initially she was a station pianist, presented educational programmes for children, and produced ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Assyrian Academic Society
The Assyrian Academic Society (AAS) was established in 1983, as an academic, educational and minority organization of Assyrians in the United States. From its foundation, AAS was based in Chicago, a city with one of the largest communities of Assyrian Americans. It was established as a non-governmental organization dedicated to promotion of Assyrian cultural and historical heritage. Its activities included organization of lectures and seminars, promotion of Assyrian literature and native language, and cooperation with other Assyrian organizations, both in the USA and worldwide. Its goal was to serve as a center for advancement and promotion of cultural developments within the Assyrian diaspora and to introduce Assyrian heritage to the outside world. The organization was a registered 501(C)(3) non-profit organization, without political affiliations. Activities Since 1986, ASS was associated with the publishing of the Journal of the Assyrian Academic Society, but in 1997 sever ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 ''minor'' because it is the smaller of the two: the minor sixth spans eight semitones, the major sixth nine. For example, the interval from A to F is a minor sixth, as the note F lies eight semitones above A, and there are six staff positions from A to F. Diminished and augmented sixths span the same number of staff positions, but consist of a different number of semitones (seven and ten respectively). Equal temperament In 12-tone equal temperament (12-ET), the minor sixth is enharmonically equivalent to the augmented fifth. It occurs in first inversion major and dominant seventh chords and second inversion minor chords. It is equal to eight semitones, i.e. a ratio of 28/12:1 or simplified to 22/3:1 (about 1.587), or 800 cents. Just temper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Altered Chord
An altered chord is a chord that replaces one or more notes from the diatonic scale with a neighboring pitch from the chromatic scale. By the broadest definition, any chord with a non-diatonic chord tone is an altered chord. The simplest example of altered chords is the use of borrowed chords, chords borrowed from the parallel key, and the most common is the use of secondary dominants. As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional chords is given another quality by the modification of one or more components of the chord." For example, altered notes may be used as leading tones to emphasize their diatonic neighbors. Contrast this with chord extensions: In jazz harmony, chromatic alteration is either the addition of notes not in the scale or expansion of a hordprogression by adding extra non-diatonic chords.Arkin, Eddie (2004). ''Creative Chord Substitution for Jazz Guitar'', p. 42. . For example, "A C major scale with an added D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Borrowed Chord
A borrowed chord (also called mode mixture,Romeo, Sheila (1999). ''Complete Rock Keyboard Method: Mastering Rock Keyboard'', p. 42. . Bouchard, Joe and Romeo, Sheila (2007). ''The Total Rock Keyboardist'', p. 120. Alfred Music. . modal mixture, substituted chord,White, William Alfred (1911). Harmonic Part-writing', p. 42. Silver, Burdett, & Co. . modal interchange, or mutation) is a chord (music), chord borrowed from the parallel key (minor scale, minor or major scale with the same tonic (music), tonic). Borrowed chords are typically used as "color chords", providing harmonic variety through contrasting scale forms, which are major scales and the three forms of minor scales.Benward & Saker (2009), p. 71. Chords may also be borrowed from other parallel musical mode, modes besides the major and minor mode, for example D Dorian mode, Dorian with D major. The mixing of the major and minor modes developed in the baroque music, Baroque period. Borrowed chords are distinguished from mod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Assyrian Folk Dance
Assyrian folk dances are sets of dances that are performed throughout the world by Assyrians, mostly on occasions such as weddings, community parties and other jubilant events. Assyrian folk dances are mainly made up of circle dances like ballet that are performed in a line, which may be straight, curved, or both. Most of the dances allow unlimited number of participants, with the exception of the ''Sabre Dance'', which require three at most. Assyrian dances would vary from weak to strong, depending on the mood and tempo of a song. Assyrian folk dances belong to five metric groups: (10 dances), (6 dances), (13 dances), (1 dance), (1 dance). The tempo would usually range from slow (70 beats per minute) to very fast (140 beats). Technique All Assyrians dances, with the exception of the ''Sabre Dance'', are done in a connected circle. Most Assyrian circle dances are lateral, vining and open-ended, where more and more participants can join the dance. In an open floor space, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Assyrian/Syriac Folk Music
Assyrian folk/pop music, also known as Assyrian folk-pop or modern Syriac music ( syr, ܡܘܣܝܩܝ ܣܦܝܢܘܬܐ ܐܬܘܪܝܬܐ/ܣܘܪܝܝܬܐ), is the musical style of the Assyrian people derived from traditional music that includes a broad range of stylistic varieties, which would also encompass fusions of Western genres such as pop, electronic, Latin, jazz and/or classical music, with a melodic basis of Assyrian folk. Background Assyrian folk music claims to be the descendant of the music of their ancient Upper Mesopotamian ancestors that has survived in the liturgical music of the Syriac Churches. Assyrian songs are generally sung in Iraqi Koine, a standard variety of Assyrian Neo-Aramaic. However, older songs mostly had an Urmian dialect and tribal-folk music tend to contain Tyari dialects. Themes tend to focus on longing, melancholy, strife and love issues. Assyrian songs are usually lengthy, tending to be around 5 minutes long on average. Composition Assyrian folk can ... [...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] |
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] |
Supertonic
In music, the supertonic is the second degree () of a diatonic scale, one whole step above the tonic. In the movable do solfège system, the supertonic note is sung as ''re''. The triad built on the supertonic note is called the supertonic chord. In Roman numeral analysis, the supertonic chord is typically symbolized by the Roman numeral "ii" in a major key, indicating that the chord is a minor chord (in C: D–F–A). In a minor key, it is indicated by "ii" if it is built on the a natural minor scale, indicating that the chord is a diminished chord (in C: D–F–A). Because it is a diminished chord, it usually appears in first inversion (iio6) so that no note dissonates with the bass note. These chords may also appear as seventh chords: in major, as ii7 (in C: D–F–A–C), while in minor as ii7 (in C: D–F–A–C) or rarely ii7. They are the second-most-common form of nondominant seventh chords. The supertonic chord normally functions as a predominant chord, a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
