|
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] |
Unison (music)
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 with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Scale
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale. Often, especially in the context of the common practice period, most or all of the melody and harmony of a musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature. Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps, a scale step being the recognizable distance (or interval) between two successive notes of the scale. However, there is no need for scale steps to be equal within any scale and, particularly as demonstrated by microtonal music, there is no limit to how many notes can be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modes (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heptatonic Scales
A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include the major scale or minor scale; e.g., in C major: C D E F G A B C—and in the relative minor, A minor, natural minor: A B C D E F G A; the melodic minor scale, A B C D E FGA ascending, A G F E D C B A descending; the harmonic minor scale, A B C D E F GA; and a scale variously known as the Byzantine, and Hungarian,''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London, 2001) scale, C D E F G A B C. Indian classical theory postulates seventy-two seven-tone scale types, collectively called ''thaat'', whereas others postulate twelve or ten (depending on the theorist) seven-tone scale types. Several heptatonic scales in Western, Roman, Spanish, Hungarian, and Greek music can be analyzed as juxtapositions of tetrachords.Dupré, Marcel (1962). ''Cours Complet d'Improvisation a l'Orgue'', v.2, p. 35, trans. John Fenstermake ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 "generally accepted in the jazz world today". However, the majority of older players used the chord tone/chord arpeggio method. The system is an example of the difference between the treatment of dissonance in jazz and classical harmony: "Classical treats all notes that don't belong to the chord...as potential dissonances to be resolved...Non-classical harmony just tells you which note in the scale to otentially avoid..., meaning that all the others are okay". The chord-scale system may be compared with other common methods of improvisation, first, the older traditional chord tone/chord arpeggio method, and where one scale on one root note is used throughout all chords in a progression (for example the blues scale on A for all chords of t ... [...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] |
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] |
Half-diminished Seventh Chord
In music theory, the half-diminished seventh chord (also known as a half-diminished chord or a minor seventh flat five chord) is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh (1, 3, 5, 7). For example, the half-diminished seventh chord built on C, commonly written as Cm7(♭5), or C7, has pitches C–E–G–B: : It can be represented by the integer notation . The half-diminished seventh chord exists in root position and in three inversions. Note that the first inversion shares identity with a chord on the minor sixth: In diatonic harmony, the half-diminished seventh chord occurs naturally on the seventh scale degree of any major scale (for example, B7 in C major) and is thus a leading-tone seventh chord in the major mode.Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p. 217. . Similarly, the chord also occurs on the second degree of any natural minor scale (e.g., D7 in C minor ... [...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] |
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] |
Half-diminished Seventh Chord
In music theory, the half-diminished seventh chord (also known as a half-diminished chord or a minor seventh flat five chord) is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh (1, 3, 5, 7). For example, the half-diminished seventh chord built on C, commonly written as Cm7(♭5), or C7, has pitches C–E–G–B: : It can be represented by the integer notation . The half-diminished seventh chord exists in root position and in three inversions. Note that the first inversion shares identity with a chord on the minor sixth: In diatonic harmony, the half-diminished seventh chord occurs naturally on the seventh scale degree of any major scale (for example, B7 in C major) and is thus a leading-tone seventh chord in the major mode.Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p. 217. . Similarly, the chord also occurs on the second degree of any natural minor scale (e.g., D7 in C minor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Scale
An octatonic scale is any eight-note musical scale. However, the term most often refers to the symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory (in contrast to jazz theory), this symmetrical scale is commonly called the ''octatonic scale'' (or the ''octatonic collection''), although there are a total of 42 enharmonically non-equivalent, transpositionally non-equivalent eight-note sets. The earliest systematic treatment of the octatonic scale was in Edmond de Polignac's unpublished treatise "Étude sur les successions alternantes de tons et demi-tons (Et sur la gamme dite majeure-mineure)" (''Study of the Succession of Alternating Whole Tones and Semitones (and of the so-called Major-Minor Scale)'') from c. 1879, which preceded Vito Frazzi's ''Scale alternate per pianoforte'' of 1930 by a full half-century. Nomenclature In Saint Petersburg at the turn of the 20th century, this scale had become so familiar in the circle of comp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
