|
Realization (figured Bass)
Realization is the art of creating music, typically an accompaniment, from a figured bass, whether by improvisation in real time, or as a detained exercise in writing. It is most commonly associated with Baroque music. Competent performers of the era were expected to realize a stylistically appropriate accompaniment from a mere harmonic sketch, called a figured bass, and to do it at sight. A system that allowed much flexibility, it became a lost art, but was revived in the 20th century by scholar-performers. To realize a figured bass by writing down the actual notes to be played was (and is) a traditional exercise for students learning harmony and composition, and is used by music editors to make performing editions. It was rare for established composers of the Baroque era to write down realizations. With few exceptions, those that have survived are short teaching demonstrations, or else student exercises. From this exiguous material must present-day scholars seek to recove ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Philip Mercier, 'A Music Party'
Philip, also Phillip, is a male given name, derived from the Greek language, Greek (''Philippos'', lit. "horse-loving" or "fond of horses"), from a compound of (''philos'', "dear", "loved", "loving") and (''hippos'', "horse"). Prominent Philips who popularized the name include List of kings of Macedonia, kings of Macedonia and one of the apostles of early Christianity. ''Philip'' has #Philip in other languages, many alternative spellings. One derivation often used as a surname is Phillips (surname), Phillips. It was also found during ancient Greek times with two Ps as Philippides (other), Philippides and Philippos. It has many diminutive (or even hypocorism, hypocoristic) forms including Phil, Philly (other)#People, Philly, Lip (other), Lip, Pip (other), Pip, Pep (other), Pep or Peps. There are also feminine forms such as Philippine de Rothschild, Philippine and Philippa. Antiquity Kings of Macedon * Philip I of Macedon * Philip II ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fragment Of "Baletto" By Tomaso Pegoletti (1698)
Fragment may refer to: Entertainment Television and film * "Fragments" (''Torchwood''), an episode from the BBC TV series * "Fragments", an episode from the Canadian TV series ''Sanctuary'' * "Fragments" (Steven Universe Future), an episode from the American TV series ''Steven Universe Future'' * ''Fragments'' (film) (a.k.a. ''Winged Creatures''), a 2009 film * '' Fragments: Chronicle of a Vanishing'', a 1991 Croatian film Music * "Fragments" (song), a song by Jack Johnson * "Fragments", a song from ''Endless Wire'' (The Who album) * ''Fragments'' (Paul Bley album), a 1987 album by jazz pianist Paul Bley * ''Fragments'', an album by the Danish singer Jakob Sveistrup * ''Fragments'' (EP), an EP by Rapids! * ''Fragments'', an EP by Chipzel * ''Fragments'' (Bonobo album), a 2022 album by British producer Bonobo Other * ''Fragments'', a play by Edward Albee * ''Fragments: Memories of a Wartime Childhood 1939–1948'', a fictional memoir of Holocaust survival by Binjamin W ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imitation (music)
In music, imitation is the repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice. The melody may vary through transposition, inversion, or otherwise, but retain its original character. The intervals and rhythms of an imitation may be exact or modified; imitation occurs at varying distances relative to the first occurrence, and phrases may begin with voices in imitation before they freely go their own ways. Imitation helps provide unity to a composition and is used in forms such as the fugue and canon. Definitions When a phrase recurs exactly as before (except perhaps transposed), it is called strict imitation. A round is thus an example of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. Different authors define imitation somewhat differently: The point of imitation, "marks the beginning of a series of imitative entries in a contrapuntal c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arpeggiation
A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord and span one or more octaves. An arpeggio () is a type of broken chord, in which the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also span more than one octave. Being an Italian noun, its plural is ''arpeggi''. The word ''arpeggio'' comes from the Italian word ''arpeggiare'', which means ''to play on a harp''. Even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, different music theorists may analyze the same musical excerpt differently. Arpeggios enable composers writing for monophonic instruments that play one note at a time (e.g., flute, saxophone, trumpet), to voice chords and chord progressions in musical pieces. Arpeggios and broken ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ornament (music)
In music, ornaments or embellishments are musical flourishes—typically, added notes—that are not essential to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line (or harmony), provide added interest and variety, and give the performer the opportunity to add expressiveness to a song or piece. Many ornaments are performed as "fast notes" around a central, main note. There are many types of ornaments, ranging from the addition of a single, short grace note before a main note to the performance of a virtuosic and flamboyant trill. The amount of ornamentation in a piece of music can vary from quite extensive (it was often extensive in the Baroque period, from 1600 to 1750) to relatively little or even none. The word ''agrément'' is used specifically to indicate the French Baroque style of ornamentation. Improvised vs. written In the Baroque period, it was common for performers to improvise ornamentation on a given melodic li ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thomas Mace
Thomas Mace (1612 or 1613 – c. 1706) was an English lutenist, viol player, singer, composer and musical theorist of the Baroque music, Baroque era. His book ''Musick's Monument'' (1676) provides a valuable description of 17th century musical practice. Biography Born in 1612 or 1613,Damschroder and Williams (1990), p. 178 he played the lute from c. 1621, but his teacher if any is unknown. He also played the viol.Holman (2010), pp. 67–68 He was a singer,Carlton (1992), p. 162 termed a lay clerk, in the choir of Trinity College, Cambridge from 1635 until his death. During the 1644 Siege of York, in the English Civil War, he was present in that city, where he had family.Spring (2006), p. 428 He died c. 1706. Works In 1676 he published ''Musick's Monument'', for about 300 subscribers. The title page described it as: Its large section on the lute contained a comprehensive lute tutorial and guide to the instrument, and there was a similar, smaller section on the viol. The b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading Note
In music theory, a leading-tone (also called a subsemitone, and a leading-note in the UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. Typically, ''the'' leading tone refers to the seventh scale degree of a major scale (), a major seventh above the tonic. In the movable do solfège system, the leading-tone is sung as ''ti''. A leading-tone triad is a triad (music), triad built on the seventh scale degree in a major key (vii in Roman numeral analysis), while a leading-tone seventh chord is a seventh chord built on the seventh scale degree (vii7). Walter Piston considers and notates vii as V, an incomplete dominant seventh chord. (For the Roman numeral notation of these chords, see Roman numeral analysis.) Note Seventh scale degree (or lower leading tone) Typically, when people speak of ''the'' leading tone, they mean the seventh scale degree () of the major scale, which has a stron ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consecutive Fifths
In music, consecutive fifths or parallel fifths are progressions in which the interval of a perfect fifth is followed by a ''different'' perfect fifth between the same two musical parts (or voices): for example, from C to D in one part along with G to A in a higher part. Octave displacement is irrelevant to this aspect of musical grammar; for example, a parallel twelfth (i.e., an octave plus a fifth) is equivalent to a parallel fifth.Thus, the word "parallel" is not truly synonymous with "consecutive", as a fifth followed by another fifth approached with contrary motion would still count as consecutive fifths. The term ''parallel fifths'' may therefore be misleading because some consecutive fifths occur with contrary motion: from a true uncompounded fifth to a twelfth, for example. If parts move by oblique motion (for example, one part moving from a C to a higher C, and another part repeating a G higher than both of those Cs), the intervals are not considered to differ in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consecutive Fifths
In music, consecutive fifths or parallel fifths are progressions in which the interval of a perfect fifth is followed by a ''different'' perfect fifth between the same two musical parts (or voices): for example, from C to D in one part along with G to A in a higher part. Octave displacement is irrelevant to this aspect of musical grammar; for example, a parallel twelfth (i.e., an octave plus a fifth) is equivalent to a parallel fifth.Thus, the word "parallel" is not truly synonymous with "consecutive", as a fifth followed by another fifth approached with contrary motion would still count as consecutive fifths. The term ''parallel fifths'' may therefore be misleading because some consecutive fifths occur with contrary motion: from a true uncompounded fifth to a twelfth, for example. If parts move by oblique motion (for example, one part moving from a C to a higher C, and another part repeating a G higher than both of those Cs), the intervals are not considered to differ in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Leading
Voice leading (or part writing) is the linear progression of individual melodic lines ( voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. In ''Jazz Theory'', Gabriel Sakuma writes that " the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music."Terefenko, Dariusz (2014). ''Jazz Theory: From Basic to Advanced Study'', p. 33. Routledge. . Marc Schonbrun also states that while it is untrue that "popular music has no voice leading in it, ..the largest amount of popular music is simply conceived with chords as blocks of information, and melodies are layered on top of the chords."Schonbrun, Marc (2011). ''The Everything Music Theory Book'', pp. 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lead Sheet
A lead sheet or fake sheet is a form of musical notation that specifies the essential elements of a popular song: the melody, lyrics and harmony. The melody is written in modern Western music notation, the lyric is written as text below the staff and the harmony is specified with chord symbols above the staff. The lead sheet does not describe the chord voicings, voice leading, bass line or other aspects of the accompaniment. These are specified later by an arranger or improvised by the performers,Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p.76. Seventh Edition. . and are considered aspects of the arrangement or performance of a song, rather than a part of the song itself. A lead sheet may also specify an instrumental part or theme, if this is considered essential to the song's identity. For example, the opening guitar riff from Deep Purple's "Smoke on the Water" is a part of the song; any performance of the song should include the guitar riff, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Thomas Mace")
