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Pandiatonic
Pandiatonicism is a musical technique of using the diatonic and chromatic, diatonic (as opposed to the chromatic scale, chromatic) scale (music), scale without the limitations of diatonic function, functional tonality. Music using this technique is pandiatonic. History The term "pandiatonicism" was coined by Nicolas Slonimsky in the second edition of ''Music since 1900'' to describe chord (music), chord formations of any number up to all seven degree (music), degrees of the diatonic scale, "used freely in democratic equality". Triad (music), Triads with added notes such as the sixth chord, sixth, seventh chord, seventh, or ninth chord, second (added tone chords) are the most common,) while the, "most elementary form," is a nonharmonic bass. According to Slonimsky's definition, ''Pan-diatonicism'' sanctions the simultaneous use of any or all seven tones of the diatonic scale, with the bass note, bass determining the harmony. The chord-building remains tertian, with the seventh, nint ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass Note
In music theory, the bass note of a chord or sonority is the lowest note played or notated. If there are multiple voices it is the note played or notated in the lowest voice (the note furthest in the bass.) Three situations are possible: # The bass note is the root or fundamental of the chord. The chord is in root position. # One of the other pitches of the chord is in the bass. This makes it an inverted chord # The bass note is ''not'' one of the notes in the chord. Such a bass note is an additional note, coloring the chord above it. The name of such a chord is also notated as a slash chord. In pre- tonal theory ( Early music), root notes were not considered and thus the bass was the most defining note of a sonority. See: thoroughbass. In pandiatonic chords the bass often does not determine the chord, as is always the case with a nonharmonic bass 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stravinsky Pandiatonic Nonharmonic Bass- Symphony Of Psalms 3rd Mov
Igor Fyodorovich Stravinsky (6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: '' The Firebird'' (1910), '' Petrushka'' (1911), and ''The Rite of Spring'' (1913). The last transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a revolutionary who pushed the boundaries of musical design. His "Russian phase", which continued with works such as '' Renard'', ''L'Histoire du soldat,'' and '' Les noces'', was followed in the 1920s by a pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Igor Stravinsky
Igor Fyodorovich Stravinsky (6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: ''The Firebird'' (1910), ''Petrushka'' (1911), and ''The Rite of Spring'' (1913). The last transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a revolutionary who pushed the boundaries of musical design. His "Russian phase", which continued with works such as '' Renard'', ''L'Histoire du soldat,'' and ''Les noces'', was followed in the 1920s by a period ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alfredo Casella
Alfredo Casella (25 July 18835 March 1947) was an Italian composer, pianist and conductor. Life and career Casella was born in Turin, the son of Maria (née Bordino) and Carlo Casella. His family included many musicians: his grandfather, a friend of Paganini, was first cello in the San Carlo Theatre in Lisbon and eventually became soloist in the Royal Chapel in Turin. Alfredo's father, Carlo, was also a professional cellist, as were Carlo's brothers Cesare and Gioacchino; his mother was a pianist, who gave the boy his first music lessons. Alfredo entered the Conservatoire de Paris in 1896 to study piano under Louis Diémer and composition under Gabriel Fauré; in these classes, Lazare-Lévy, George Enescu and Maurice Ravel were among his fellow students. During his Parisian period, Claude Debussy, Igor Stravinsky and Manuel de Falla were acquaintances, and he was also in contact with Ferruccio Busoni, Gustav Mahler and Richard Strauss. Casella developed a deep admi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Concerto No
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700. Description The word "piano" is a shortened form of ''pianoforte'', the Italian term for the early 1700s versions of the instrument, which in turn derives from ''clavicembalo col piano e forte'' (key cimbalom with quiet and loud)Pollens (1995, 238) and ''fortepiano''. The Italian musical terms ''piano'' and ''forte'' indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the grea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sergei Prokofiev
Sergei Sergeyevich Prokofiev; alternative transliterations of his name include ''Sergey'' or ''Serge'', and ''Prokofief'', ''Prokofieff'', or ''Prokofyev''., group=n (27 April .S. 15 April1891 – 5 March 1953) was a Russian composer, pianist, and conductor who later worked in the Soviet Union. As the creator of acknowledged masterpieces across numerous music genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard pieces as the March from ''The Love for Three Oranges,'' the suite ''Lieutenant Kijé'', the ballet ''Romeo and Juliet''—from which "Dance of the Knights" is taken—and ''Peter and the Wolf.'' Of the established forms and genres in which he worked, he created—excluding juvenilia—seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, a symphony-concerto for cello and orchestra, and nine completed piano sonatas. A graduate of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (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 ... [...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] |
Resolution (music)
Resolution in western tonal music theory is the move of a note or chord from dissonance (an unstable sound) to a consonance (a more final or stable sounding one). Dissonance, resolution, and suspense can be used to create musical interest. Where a melody or chordal pattern is expected to resolve to a certain note or chord, a different but similarly suitable note can be resolved to instead, creating an interesting and unexpected sound. For example, the deceptive cadence. Basis Resolution has a strong basis in tonal music, since atonal music generally contains a more constant level of dissonance and lacks a tonal center to which to resolve. The concept of "resolution", and the degree to which resolution is "expected", is contextual as to culture and historical period. In a classical piece of the Baroque period, for example, an added sixth chord (made up of the notes C, E, G and A, for example) has a very strong need to resolve, while in a more modern work, that need is less ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive Sound, sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term ''sonance'' has been proposed to encompass or refer indistinctly to the terms ''consonance'' and ''dissonance' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neoclassicism (music)
Neoclassicism in music was a twentieth-century trend, particularly current in the interwar period, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late Romanticism, as well as a "call to order" after the experimental ferment of the first two decades of the twentieth century. The neoclassical impulse found its expression in such features as the use of pared-down performing forces, an emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony, and a concentration on absolute music as opposed to Romantic program music. In form and thematic technique, neoclassical music often drew inspiration from music of the 18th century, though the inspiring canon belonged as frequently to the Baroque and even earlier periods as t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quartal And Quintal Harmony
In music, quartal harmony is the building of harmonic structures built from the intervals of the perfect fourth, the augmented fourth and the diminished fourth. For instance, a three-note quartal chord on C can be built by stacking perfect fourths, C–F–B. : Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth. For instance, a three-note quintal chord on C can be built by stacking perfect fifths, C–G–D. : Properties Use of the terms ''quartal'' and ''quintal'' arises from a contrast, compositional or perceptual, with traditional tertian harmonic constructions. Listeners familiar with music of the European common practice period perceive tonal music as that which uses major and minor chords and scales, wherein both the major third and minor third constitute the basic ''structural elements'' of the harmony. Regarding chords built from perfect fourths alone, composer Vincent Persichetti writes that: '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
