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Omnibus Progression
The omnibus progression in music is a chord progression characterized by chromatic lines moving in opposite directions. The progression has its origins in the various Baroque harmonizations of the descending chromatic fourth in the bass ostinato pattern of passacaglia, known as the "lament bass". However, in its fullest form the omnibus progression involves a descent in the bass which traverses a whole octave and includes every note of the chromatic scale. It may also include one or more chromatic ascending tetrachords in the soprano, tenor and alto. They are also known as "chromatic wedge progressions", in reference to their wedge-like appearance in score. Gauldin, Robert. "The Theory and Practice of Chromatic Wedge Progressions in Romantic Music." ''Music Theory Spectrum'', vol. 26, no. 1. (Spring 2004), pp. 1–22. The origin of the term "omnibus" (Latin: "for all") to describe such a sequence is unclear, but it is of note that the chord progression encompasses ''all'' of the no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Progression
In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of Western popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built. In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the common chord progression I–vi–ii–V, are usually expressed by Roman numerals in Classical music theory. In many styles of popular and traditional music, chord progressions are expressed using the name and " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor. These chords may also appear as seventh chords: in major, as IM7, or in minor as i7 or rarely iM7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Exchange
In music, especially Schenkerian analysis, a voice exchange (german: Stimmtausch; also called voice interchange) is the repetition of a contrapuntal passage with the voices' parts exchanged; for instance, the melody of one part appears in a second part and vice versa. It differs from invertible counterpoint in that there is no octave displacement; therefore it always involves some voice crossing. If scored for equal instruments or voices, it may be indistinguishable from a repeat, although because a repeat does not appear in any of the parts, it may make the music more interesting for the musicians.Donald J. Grout and Claude Palisca, ''A History of Western Music'', 5th ed., New York: Norton, 1996, 86. It is a characteristic feature of rounds, although not usually called such.Willi Apel, Harvard Dictionary of Music, Cambridge: Harvard University Press, 1972, p. 920. Patterns of voice exchange are sometimes schematized using letters for melodic patterns.Apel, 919. A double voice exc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prolongation
In music theory, prolongation is the process in tonal music through which a pitch, interval, or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's ''Auskomponierung'' (better translated as "composing out" or "elaboration"). According to Fred Lerdahl, "The term 'prolongation' ..usually means 'composing out' (Schenker's own intention for the term is open to debate)." Prolongation can be thought of as a way of generating musical content through the linear elaboration of simple and basic tonal structures with progressively increasing detail and sophistication,William Drabkin. "Prolongation." Grove Music Online. Oxford Music Online. 2 Aug. 2011 . and thus analysis consists of a reduction from detail to structure. Important to the operation of prolongation is the hierarc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Key (music)
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in classical, Western art, and Western pop music. The group features a '' tonic note'' and its corresponding ''chords'', also called a ''tonic'' or ''tonic chord'', which provides a subjective sense of arrival and rest, and also has a unique relationship to the other pitches of the same group, their corresponding chords, and pitches and chords outside the group. Notes and chords other than the tonic in a piece create varying degrees of tension, resolved when the tonic note or chord returns. The key may be in the major or minor mode, though musicians assume major when this is not specified, e.g., "This piece is in C" implies that the key of the song is C major. Popular songs are usually in a key, and so is classical music during the common practice period, around 1650–1900. Longer pieces in the classical repertoire may have sections in contrasting keys. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modulation (music)
In music, modulation is the change from one tonality ( tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change). Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization. Requirements * Harmonic: quasi- tonic, modulating dominant, pivot chordForte (1979), p. 267. *Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-tone *Metric and rhythmic: quasi-tonic and modulating dominant on metrically accented beats, prominent pivot chord The quasi-tonic is the tonic of the new key established by the modulation was semi. The modulating dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V–V/V– ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Composition
Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, counte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Figured Bass
Figured bass is musical notation in which numerals and symbols appear above or below (or next to) a bass note. The numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician playing piano, harpsichord, organ, or lute (or other instruments capable of playing chords) should play in relation to the bass note. Figured bass is closely associated with basso continuo: a historically improvised accompaniment used in almost all genres of music in the Baroque period of Classical music ( 1600–1750), though rarely in modern music. Figured bass is also known as thoroughbass. Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis; chord letters, sometimes used in modern musicology; the Nashville Number System; and various chord names and symbols used in jazz and popular music (e.g., C Major or simply C; D minor, Dm, or D−; G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inversion (music)
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augmented ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Cadence
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a passage or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant (music)
In music, the dominant is the fifth scale degree () of the diatonic scale. It is called the ''dominant'' because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)". The triad built on the dominant note is called the dominant chord. This chord is said to have dominant function, which means that it creates an instability that requires the tonic for resolution. Dominant triads, seventh chords, and ninth chords typically have dominant function. Leading-tone triads and leading-tone seventh chords may also have dominant function. Dominant chords In music theory, the dominant triad is a major chord, symbolized by the Roman numeral "V" in the major scale. In the natural minor scale, the triad is a minor chord, denoted by "v". However, in a minor key, the seventh scale degree is often raised by a half step ( to ), creating a major chord. These chords may also appear as seventh chords: ty ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Gauldin
Robert Luther Gauldin, Jr. (born 1931) is an American composer. He is Professor Emeritus of Music Theory at the Eastman School of Music. Career Robert Gauldin was born to Robert Luther Gauldin (1905–1959) and Lula Mae Self (1905–1977). He graduated in 1949 from Vernon High School, Vernon, Texas. During his senior year, he was Vice President of the Honor Society and, as clarinetist, President of the Band. In the 1949 Vernon High School Yearbook, he was labeled "the BEBOP man." Gauldin, in 1952, earned a Bachelor of Music degree in Composition, with High Honors, from the University of North Texas College of Music. He went on to study at the Eastman School of Music where, in 1956, he earned a Master of Music degree in Music Theory, and in 1959, a PhD in Music Theory. From 1959 to 1963 he served as professor of theory at William Carey College. For the next thirty-four years – from 1963 to 1997 – he was a professor at Eastman School of Music. Compositions *''Movement for Wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
