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Octave (liturgy
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 t ... [...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] |
C (musical Note)
C or Do is the first note and semitone of the C major scale, the third note of the A minor scale (the relative minor of C major), and the fourth note (G, A, B, C) of the Guidonian hand, commonly pitched around 261.63 Hz. The actual frequency has depended on historical pitch standards, and for transposing instruments a distinction is made between written and sounding or concert pitch. It has enharmonic equivalents of B and D. In English the term ''Do'' is used interchangeably with C only by adherents of fixed Do solfège; in the movable Do system Do refers to the tonic of the prevailing key. Frequency Historically, concert pitch has varied. For an instrument in equal temperament tuned to the A440 pitch standard widely adopted in 1939, middle C has a frequency around 261.63 Hz (for other notes see piano key frequencies). Scientific pitch was originally proposed in 1713 by French physicist Joseph Sauveur and based on the numerically convenient frequency of 256 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Middle C
C or Do is the first note and semitone of the C major scale, the third note of the A minor scale (the relative minor of C major), and the fourth note (G, A, B, C) of the Guidonian hand, commonly pitched around 261.63 Hz. The actual frequency has depended on historical pitch standards, and for transposing instruments a distinction is made between written and sounding or concert pitch. It has enharmonic equivalents of B and D. In English the term ''Do'' is used interchangeably with C only by adherents of fixed Do solfège; in the movable Do system Do refers to the tonic of the prevailing key. Frequency Historically, concert pitch has varied. For an instrument in equal temperament tuned to the A440 pitch standard widely adopted in 1939, middle C has a frequency around 261.63 Hz (for other notes see piano key frequencies). Scientific pitch was originally proposed in 1713 by French physicist Joseph Sauveur and based on the numerically convenient frequency of 256 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Helmholtz Pitch Notation
Helmholtz pitch notation is a system for naming musical notes of the Western chromatic scale. Fully described and normalized by the German scientist Hermann von Helmholtz, it uses a combination of upper and lower case letters (A to G), and the sub- and super-prime symbols ( ͵ ′ or ) to denote each individual note of the scale. It is one of two formal systems for naming notes in a particular octave, the other being scientific pitch notation. History Helmholtz proposed this system in order to accurately define pitches in his classical work on acoustics ''Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik'' (1863) translated into English by A.J. Ellis as ''On the Sensations of Tone'' (1875). Helmholtz based his notation on the practice of German organ builders for labelling their pipes, itself derived from the old German organ tablature in use from late medieval times until the early 18th century. His system is widely use ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scientific Pitch Notation
Scientific pitch notation (SPN), also known as American standard pitch notation (ASPN) and international pitch notation (IPN), is a method of specifying musical Pitch (music), pitch by combining a musical Note (music), note name (with accidental (music), accidental if needed) and a number identifying the pitch's octave. Although scientific pitch notation was originally designed as a companion to scientific pitch (see below), the two are not synonymous. Scientific pitch is a pitch standard—a system that defines the specific frequencies of particular pitches (see below). Scientific pitch notation concerns only how pitch names are notated, that is, how they are designated in printed and written text, and does not inherently specify actual frequencies. Thus, the use of scientific pitch notation to distinguish octaves does not depend on the pitch standard used. Nomenclature The notation makes use of the traditional tone names (A to G) which are followed by numbers showing which octa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coll'ottava
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 t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Seventh
In music from Western culture, a seventh is a musical interval encompassing seven staff positions (see Interval number for more details), and the major seventh is one of two commonly occurring sevenths. It is qualified as ''major'' because it is the larger of the two. The major seventh spans eleven semitones, its smaller counterpart being the minor seventh, spanning ten semitones. For example, the interval from C to B is a major seventh, as the note B lies eleven semitones above C, and there are seven staff positions from C to B. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve). The easiest way to locate and identify the major seventh is from the octave rather than the unison, and it is suggested that one sings the octave first.Keith Wyatt, Carl Schroeder, Joe Elliott (2005). ''Ear Training for the Contemporary Musician'', p.69. . For example, the most commonly cited example of a melod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Ninth
In music, a ninth is a compound interval consisting of an octave plus a second. Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its sonority level is considered less dense. Major ninth A major ninth is a compound musical interval spanning 14 semitones, or an octave plus 2 semitones. If transposed into a single octave, it becomes a major second or minor seventh. The major ninth is somewhat dissonant in sound. Transposition Some common transposing instruments sound a major ninth lower than written. These include the tenor saxophone, the bass clarinet, the baritone/euphonium when written in treble clef, and the trombone when written in treble clef ( British brass band music). When baritone/euphonium or trombone parts are written in bass clef or tenor clef they sound as written. Minor ninth A minor ninth (m9 or -9) is a compound musical interval spanning 13 semitone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Enharmonic
In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. The enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord. The term is derived from Latin ''enharmonicus'', from Late Latin ''enarmonius'', from Ancient Greek ἐναρμόνιος (''enarmónios''), from ἐν (''en'') and ἁρμονία (''harmonía''). Definition For example, in any twelve-tone equal temperament (the predominant system of musical tuning in Western music), the notes C and D are ''enharmonic'' (or ''enharmonically equivalent'') notes. Namely, they are the same key on a keyboard, and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressions. Arbitrary amounts of accidentals can produce further enharmonic equivalents, such as B (me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Octave
In music from Western culture, a diminished octave () is an interval produced by narrowing a perfect octave by a chromatic semitone.Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.54. . Specific example of an d8 not given but general example of perfect intervals described. As such, the two notes are denoted by the same letter but have different accidentals. For instance, the interval from C4 to C5 is a perfect octave, twelve semitones wide, and both the intervals from C4 to C5 and from C4 to C5 are diminished octaves, spanning eleven semitones. Being diminished, it is considered a dissonant interval.Benward & Saker (2003), p.92. The diminished octave is enharmonically equivalent to the major seventh In music from Western culture, a seventh is a musical interval encompassing seven staff positions (see Interval number for more details), and the major seventh is one of two commonly occurring sevenths. It is qualified as ''major'' because it i .... Refere ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented Octave
In Western tonality, tonal music theory, an augmented octave is the sum of a perfect octave and an augmented unison or chromatic semitone. It is the interval (music), interval between two notes, with the same note letter on staff positions an octave apart, whose alterations cause them, in ordinary equal temperament, to be thirteen semitones apart. In other words, it is a perfect octave which has been widened by a half-step, such as B and B or C and C; it is a compound augmented unison. It is the enharmonic equivalent of a minor ninth. See also * False relation * Interval (music), List of musical intervals * List of pitch intervals * Ninth#Minor ninth References Augmented intervals Octaves {{Music-theory-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrapuntal Motion
In music theory, contrapuntal motion is the general movement of two melodic lines with respect to each other. In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.Free-Ed.NeTraditional Harmony: Voice Motion Retrieved 2011-09-15. Parallel motion Parallel motion is motion in the same direction, keeping the same interval between them. For example : : Parallel motion at an interval of a perfect fifth is known as parallel or consecutive fifths, and at an interval of an octave is known as parallel or consecutive octaves. These motions are generally avoided in traditional counterpoint because they offer the lines so little independence from each other. Similar motion Similar motion is motion in the same direction, but with the interval between them changing. In other words, both lines mov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
