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Septimal Comma
A septimal comma is a small musical interval in just intonation that contains the number seven in its prime factorization. There is more than one such interval, so the term ''septimal comma'' is ambiguous, but it most commonly refers to the interval 64/63 (27.26 cents). Use of septimal commas introduces new intervals that extend tuning beyond common-practice, extending music to the 7-limit, including the 7/6 septimal minor third, the 7/5 septimal tritone and the 8/7 septimal major second. Composers who made extensive use of these intervals include Harry Partch and Ben Johnston. Johnston uses a "7" as an accidental to indicate a note is lowered 49 cents, or an upside down seven ("ㄥ" or "") to indicate a note is raised 49 cents (36/35).John Fonville. "Ben Johnston's Extended Just Intonation – A Guide for Interpreters", p. 113, '' Perspectives of New Music'', vol. 29, no. 2 (Summer 1991), pp. 106–137. Specific commas The 64/63 septimal comma, also known as '' Archytas' Co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Second On C
Major (commandant in certain jurisdictions) is a military rank of commissioned officer status, with corresponding ranks existing in many military forces throughout the world. When used unhyphenated and in conjunction with no other indicators, major is one rank above captain, and one rank below lieutenant colonel. It is considered the most junior of the field officer ranks. Background Majors are typically assigned as specialised executive or operations officers for battalion-sized units of 300 to 1,200 soldiers while in some nations, like Germany, majors are often in command of a company. When used in hyphenated or combined fashion, the term can also imply seniority at other levels of rank, including ''general-major'' or ''major general'', denoting a low-level general officer, and ''sergeant major'', denoting the most senior non-commissioned officer (NCO) of a military unit. The term ''major'' can also be used with a hyphen to denote the leader of a military band such as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Seventh
In music theory, a minor seventh is one of two musical intervals that span seven staff positions. It is ''minor'' because it is the smaller of the two sevenths, spanning ten semitones. The major seventh spans eleven. For example, the interval from A to G is a minor seventh, as the note G lies ten semitones above A, and there are seven staff positions from A to G. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve, respectively). Minor seventh intervals rarely feature in melodies (and especially in their openings) but occur more often than major sevenths. The best-known example, in part due to its frequent use in theory classes, is found between the first two words of the phrase "There's a place for us" in the song " Somewhere" in ''West Side Story''.Neely, Blake (2009). ''Piano For Dummies'', p.201. . Another well-known example occurs between the first two notes of the introduction to the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tritone
In music theory, the tritone is defined as a musical interval composed of three adjacent whole tones (six semitones). For instance, the interval from F up to the B above it (in short, F–B) is a tritone as it can be decomposed into the three adjacent whole tones F–G, G–A, and A–B. Narrowly defined, each of these whole tones must be a step in the scale, so by this definition, within a diatonic scale there is only one tritone for each octave. For instance, the above-mentioned interval F–B is the only tritone formed from the notes of the C major scale. More broadly, a tritone is also commonly defined as any interval with a width of three whole tones (spanning six semitones in the chromatic scale), regardless of scale degrees. According to this definition, a diatonic scale contains two tritones for each octave. For instance, the above-mentioned C major scale contains the tritones F–B (from F to the B above it, also called augmented fourth) and B–F (from B to the F abo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Diesis On C
Septimal may refer to: *Septimal chromatic semitone, the interval 21:20, about 84.47 cents *Septimal comma, a small musical interval in just intonation divisible by 7 *Septimal diatonic semitone, the interval 15:14, about 119.44 cents *Septimal diesis, an interval with the ratio of 49:48, about 38.71 cents *Septimal kleisma, an interval of approximately 7.7 cents *Septimal major third, the musical interval with a 9:7 ratio of frequencies *Septimal meantone temperament, the tempering of 7-limit musical intervals by a meantone temperament tuning *Septimal minor third, the musical interval exactly or approximately equal to a 7/6 ratio of frequencies *Septimal quarter tone, an interval with the ratio of 36:35, about 48.77 cents *Septimal semicomma, an interval with the ratio 126/125, about 13.79 cents *Septimal sixth-tone (or jubilisma), an interval with the ratio of 50:49, about 34.98 cents *Septimal tritone, the interval 7:5, about 582.51 cents ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Third
In classical music, a third is a musical interval encompassing three staff positions (see Interval number for more details), and the major third () is a third spanning four semitones. Forte, Allen (1979). ''Tonal Harmony in Concept and Practice'', p.8. Holt, Rinehart, and Winston. Third edition . "A large 3rd, or ''major 3rd'' (M3) encompassing four half steps." Along with the minor third, the major third is one of two commonly occurring thirds. It is qualified as ''major'' because it is the larger of the two: the major third spans four semitones, the minor third three. For example, the interval from C to E is a major third, as the note E lies four semitones above C, and there are three staff positions from C to E. Diminished and augmented thirds span the same number of staff positions, but consist of a different number of semitones (two and five). The major third may be derived from the harmonic series as the interval between the fourth and fifth harmonics. The maj ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Major Third
In music, the septimal major third , also called the supermajor third (by Hermann von Helmholtz among others Hermann L. F. von Helmholtz (2007). ''Sensations of Tone'', p. 187. .) and sometimes '' Bohlen–Pierce third'' is the musical interval exactly or approximately equal to a just 9:7 ratioAndrew Horner, Lydia Ayres (2002). ''Cooking with Csound: Woodwind and Brass Recipes'', p. 131. . "Super-Major Second". of frequencies, or alternately 14:11. It is equal to 435 cents, sharper than a just major third (5:4) by the septimal quarter tone (36:35) (). In 24-TET the septimal major third is approximated by 9 quarter tones, or 450 cents (). Both 24 and 19 equal temperament map the septimal major third and the septimal narrow fourth (21:16) to the same interval. The septimal major third has a characteristic brassy sound which is much less sweet than a pure major third, but is classed as a 9-limit consonance. Together with the root 1:1 and the perfect fifth of 3:2, it makes up the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Third
In music theory, a minor third is a musical interval that encompasses three half steps, or semitones. Staff notation represents the minor third as encompassing three staff positions (see: interval number). The minor third is one of two commonly occurring thirds. It is called ''minor'' because it is the smaller of the two: the major third spans an additional semitone. For example, the interval from A to C is a minor third, as the note C lies three semitones above A. Coincidentally, there are three staff positions from A to C. Diminished and augmented thirds span the same number of staff positions, but consist of a different number of semitones (two and five). The minor third is a skip melodically. Notable examples of ascending minor thirds include the opening two notes of " Greensleeves" and of " Light My Fire". The minor third may be derived from the harmonic series as the interval between the fifth and sixth harmonics, or from the 19th harmonic. The minor third is co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Whole Tone
In Western music theory, a major second (sometimes also called whole tone or a whole step) is a second spanning two semitones (). A second is a musical interval encompassing two adjacent staff positions (see Interval number for more details). For example, the interval from C to D is a major second, as the note D lies two semitones above C, and the two notes are notated on adjacent staff positions. Diminished, minor and augmented seconds are notated on adjacent staff positions as well, but consist of a different number of semitones (zero, one, and three). The major second is the interval that occurs between the first and second degrees of a major scale, the tonic and the supertonic. On a musical keyboard, a major second is the interval between two keys separated by one key, counting white and black keys alike. On a guitar string, it is the interval separated by two frets. In moveable-do solfège, it is the interval between ''do'' and ''re''. It is considered a melodi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Limit (music)
In music theory, limit or harmonic limit is a way of characterizing the harmony found in a piece or genre of music, or the harmonies that can be made using a particular scale. The term ''limit'' was introduced by Harry Partch, who used it to give an upper bound on the complexity of harmony; hence the name. The harmonic series and the evolution of music Harry Partch, Ivor Darreg, and Ralph David Hill are among the many microtonalists to suggest that music has been slowly evolving to employ higher and higher harmonics in its constructs (see emancipation of the dissonance). In medieval music, only chords made of octaves and perfect fifths (involving relationships among the first three harmonics) were considered consonant. In the West, triadic harmony arose (contenance angloise) around the time of the Renaissance, and triads quickly became the fundamental building blocks of Western music. The major and minor thirds of these triads invoke relationships among the first five harmonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quarter Tone
A quarter tone is a pitch halfway between the usual notes of a chromatic scale or an interval about half as wide (aurally, or logarithmically) as a semitone, which itself is half a whole tone. Quarter tones divide the octave by 50 cents each, and have 24 different pitches. Quarter tone has its roots in the music of the Middle East and more specifically in Persian traditional music. However, the first evidenced proposal of quarter tones, or the quarter-tone scale (24 equal temperament), was made by 19th-century music theorists Heinrich Richter in 1823Julian Rushton, "Quarter-Tone", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001). and Mikhail Mishaqa about 1840. Composers who have written music using this scale include: Pierre Boulez, Julián Carrillo, Mildred Couper, George Enescu, Alberto Ginastera, Gérard Grisey, Alois Hába, Ljubica Marić, Charles Ives, Tristan Murail, Krzysztof Pendere ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Diesis
In music, septimal diesis (or slendro diesis) is an interval with the ratio of 49:48 , which is the difference between the septimal whole tone and the septimal minor third. It is about 35.7 cents wide, which is narrower than a quarter-tone but wider than the septimal comma. It may also be the ratio 36:35, or 48.77 cents. In equal temperament In 12 equal temperament Twelve-tone equal temperament (12-TET) is the musical system that divides the octave into 12 parts, all of which are equally tempered (equally spaced) on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resultin ... this interval is not tempered out; the septimal whole tone and septimal minor third are replaced by the normal whole tone and minor third. This makes the diesis a semitone, about twice its "correct" size. The septimal diesis is tempered out by a number of equally tempered tuning systems, including 19-ET, 24-ET and 29-ET; these tunings do not distinguish between ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Syntonic Comma
In music theory, the syntonic comma, also known as the chromatic diesis, the Didymean comma, the Ptolemaic comma, or the diatonic comma is a small comma type interval between two musical notes, equal to the frequency ratio 81:80 (= 1.0125) (around 21.51 cents). Two notes that differ by this interval would sound different from each other even to untrained ears, , ''BBC''. but would be close enough that they would be more likely interpreted as out-of-tune versions of the same note than as different notes. The comma is also referred to as a Didymean comma because it is the amount by which Didymus corrected the |
