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Density 21.5
''Density 21.5'' is a composition for solo Western concert flute, flute written by Edgard Varèse in 1936 and revised in 1946. The piece was composed at the request of Georges Barrère for the premiere of his platinum flute, the density of platinum being close to 21.5 grams per cubic centimetre. Structure AllMusic's Sean Hickey writes, "According to the composer, ''Density 21.5'' is based on two melody, melodic ideas—one musical mode, modal, one atonal—and all of the subsequent material is generated from these two theme (music), themes. Despite the inherent limitations of writing for an unaccompanied melodic instrument, Varèse expertly explores new areas of space and time, utilizing register (music), registral contrasts to effect polyphonic continuity." George Perle analyses the piece both harmony, harmonically and motif (music), motivically, and describes its background structure. Musical form, Formally, he says, the piece consists of two parts of nearly equal length, the en ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmony
In music, harmony is the process by which individual sounds are joined together or composed into whole units or compositions. Often, the term harmony refers to simultaneously occurring frequencies, pitches ( tones, notes), or chords. However, harmony is generally understood to involve both vertical harmony (chords) and horizontal harmony ( melody). Harmony is a perceptual property of music, and, along with melody, one of the building blocks of Western music. Its perception is based on consonance, a concept whose definition has changed various times throughout Western music. In a physiological approach, consonance is a continuous variable. Consonant pitch relationships are described as sounding more pleasant, euphonious, and beautiful than dissonant relationships which sound unpleasant, discordant, or rough. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Counterpoint, which refers to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alexander Scriabin
Alexander Nikolayevich Scriabin (; russian: Александр Николаевич Скрябин ; – ) was a Russian composer and virtuoso pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late Romantic idiom. Later, and independently of his influential contemporary, Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal, which accorded with his personal brand of metaphysics. Scriabin found significant appeal in the concept of Gesamtkunstwerk as well as synesthesia, and associated colours with the various harmonic tones of his scale, while his colour-coded circle of fifths was also inspired by theosophy. He is often considered the main Russian Symbolist composer and a major representative of the Russian Silver Age. Scriabin was an innovator as well as one of the most controversial composer-pianists of the early 20th century ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octave
In music, an octave ( la, octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music," the use of which is "common in most musical systems." The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class. To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated ''8a'' or ''8va'' ( it, all'ottava), ''8va bassa'' ( it, all'ottava bassa, sometimes also ''8vb''), or simply ''8'' for the octave in the direction indicated by placing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Partition (music)
In music using the twelve-tone technique, derivation is the construction of a row through segments. A derived row is a tone row whose entirety of twelve tones is constructed from a segment or portion of the whole, the generator. Anton Webern often used derived rows in his pieces. A partition is a segment created from a set through partitioning. Derivation Rows may be derived from a sub-set of any number of pitch classes that is a divisor of 12, the most common being the first three pitches or a trichord. This segment may then undergo transposition, inversion, retrograde, or any combination to produce the other parts of the row (in this case, the other three segments). One of the side effects of derived rows is invariance. For example, since a segment may be equivalent to the generating segment inverted and transposed, say, 6 semitones, when the entire row is inverted and transposed six semitones the generating segment will now consist of the pitch classes of the derived segment. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Interval (music)
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord. In Western music, intervals are most commonly differences between notes of a diatonic scale. Intervals between successive notes of a scale are also known as scale steps. The smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones. 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, between enharmonically equivalent notes such as C and D. Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic freq ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Seventh Chord
The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, 3, 5, 7). For example, the diminished seventh chord built on C, commonly written as C7, has pitches C–E–G–B (A): : As such, a diminished seventh chord comprises a diminished triad plus a diminished seventh. Because of this, it can also be viewed as four notes all stacked in intervals of a minor third and can be represented by the integer notation . Since a diminished seventh interval is enharmonically equivalent to a major sixth, the chord is enharmonically equivalent to (1, 3, 5, 6). The diminished seventh chord occurs as a leading-tone seventh chord in the harmonic minor scale. It typically has dominant function and contains two diminished fifths, which often resolve inwards. In most sheet music books, the notation Cdim or C denotes a diminished seventh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Passing Tone
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord (see: factor (chord)). Non-chord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music. Nonchord tones are often categorized as ''accented non-chord tones'' and ''unaccented non-chord tones'' depending on whether the dissonance occurs on an accented or unaccented beat (or part of a beat). Over time, some musical styles assimilated chord types outside of the common-practice style. In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a minor seventh chord. For example, in 1940s-era bebop jazz, an F played with a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Third
In music theory, a minor third is a musical interval that encompasses three half steps, or semitones. Staff notation represents the minor third as encompassing three staff positions (see: interval number). The minor third is one of two commonly occurring thirds. It is called ''minor'' because it is the smaller of the two: the major third spans an additional semitone. For example, the interval from A to C is a minor third, as the note C lies three semitones above A. Coincidentally, there are three staff positions from A to C. Diminished and augmented thirds span the same number of staff positions, but consist of a different number of semitones (two and five). The minor third is a skip melodically. Notable examples of ascending minor thirds include the opening two notes of " Greensleeves" and of " Light My Fire". The minor third may be derived from the harmonic series as the interval between the fifth and sixth harmonics, or from the 19th harmonic. The minor third is co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tritone
In music theory, the tritone is defined as a musical interval composed of three adjacent whole tones (six semitones). For instance, the interval from F up to the B above it (in short, F–B) is a tritone as it can be decomposed into the three adjacent whole tones F–G, G–A, and A–B. Narrowly defined, each of these whole tones must be a step in the scale, so by this definition, within a diatonic scale there is only one tritone for each octave. For instance, the above-mentioned interval F–B is the only tritone formed from the notes of the C major scale. More broadly, a tritone is also commonly defined as any interval with a width of three whole tones (spanning six semitones in the chromatic scale), regardless of scale degrees. According to this definition, a diatonic scale contains two tritones for each octave. For instance, the above-mentioned C major scale contains the tritones F–B (from F to the B above it, also called augmented fourth) and B–F (from B to the F abo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symmetrical
Symmetry (from grc, συμμετρία "agreement in dimensions, due proportion, arrangement") in everyday language refers to a sense of harmonious and beautiful proportion and balance. In mathematics, "symmetry" has a more precise definition, and is usually used to refer to an object that is invariant under some transformations; including translation, reflection, rotation or scaling. Although these two meanings of "symmetry" can sometimes be told apart, they are intricately related, and hence are discussed together in this article. Mathematical symmetry may be observed with respect to the passage of time; as a spatial relationship; through geometric transformations; through other kinds of functional transformations; and as an aspect of abstract objects, including theoretic models, language, and music. This article describes symmetry from three perspectives: in mathematics, including geometry, the most familiar type of symmetry for many people; in science and nature; and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic
Diatonic and chromatic are terms in music theory that are most often used to characterize Scale (music), scales, and are also applied to musical instruments, Interval (music), intervals, Chord (music), chords, Musical note, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the Common practice period, 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 heptatonic scale that are in common use in Western music (the major, and all forms of the minor). ''Chromatic'' most often refers to structures derived from the twelve-note chromatic scale, which consists of all semitones. Historically, however, it had other senses, referring in Ancient Greek music theory to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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