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Common Tone (chord)
In music, a common tone is a pitch class that is a member of, or common to (shared by) two or more chords or sets. Typically, it refers to a note shared between two chords in a chord progression. According to H.E. Woodruff: The example below shows the seven diatonic triads of C major. The common tones between the tonic triad and the other six triads are highlighted in blue. As Woodruff describes, the tonic triad shares ''no'' common tones with either II and VII (consecutive to I), ''one'' common tone with IV and V (four and five degrees from I) each, and ''two'' common tones with III and VI (three and six degrees from I) each. : In voice leading Common tones are a consideration in voice leading and voicing. Abbé Vogler (1749–1814), Weber (1779–1839), Hauptmann (1792–1868), A. B. Marx (1795–1866), and earlier theorists emphasized "common-tone retention and smooth voice leading in... heirtreatment of harmonic succession hord progressions . It may be considered ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music
Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspect of all human societies, a cultural universal. While scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into academic disciplines, criticism, philosophy, and psychology. Music may be performed or improvised using a vast range of instruments, including the human voice. In some musical contexts, a performance or composition may be to some extent improvised. For instance, in Hindustani classical music, the performer plays spontaneously while following a partially defined structure and using characteristic motifs. In modal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Georg Joseph Vogler
Abbé Vogler Georg Joseph Vogler, also known as Abbé Vogler (June 15, 1749 – May 6, 1814), was a German composer, organist, teacher and theorist. In a long and colorful career extending over many more nations and decades than was usual at the time, Vogler established himself as a foremost experimenter in baroque and early classic music. His greatest successes came as performer and designer for the organ at various courts and cities around Europe, as well as a teacher, attracting highly successful and devoted pupils such as Carl Maria von Weber. His career as a music theorist and composer however was mixed, with contemporaries such as Mozart believing Vogler to have been a charlatan. Despite his mixed reception in his own life, his highly original contributions in many areas of music (particularly musicology and organ theory) and influence on his pupils endured, and combined with his eccentric and adventurous career, prompted one historian to summarize Vogler as "one of the mos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Common Chord (music)
A common chord, in the theory of harmony, is a chord that is diatonic to more than one key or, in other words, is ''common'' to (shared by) two keys. A "common chord" may also be defined simply as a triadic chord (e.g., C–E–G), as one of the most commonly used chords in a key (I–IV–V–vi–ii), more narrowly as a triad in which the fifth is perfect (i.e., a major or minor triad), in which sense it is alternatively referred to as a "perfect chord" or, more narrowly still (in American practice), as a major triad only.Don Michael Randel, "Common Chord", ''Harvard Dictionary of Music'', fourth edition, Harvard University Press Reference Library 16 (Cambridge: Harvard University Press 2003): 193. . "Common chord: Major triad." Common chords are frequently used in modulations, in a type of modulation known as common chord modulation or diatonic pivot chord modulation. It moves from the original key to the destination key (usually a closely related key) by way of a chord both ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Approach Chord
In music, an approach chord (also chromatic approach chord and dominant approach chord) is a chord one half-step higher or lower than the goal, especially in the context of turnarounds and cycle-of-fourths progressions, for example the two bar 50s progression: , G / Em / , Am / D7 / , , may be filled in with approach chords: , G F9 Em Abm , Am D#7 D7 Gb7 , , F9 being the half-step to Em, Am being the half-step to Am, D7 being the half-step to D7, and G7 being the half-step to G. G being I, Em being vi, Am being ii, and D7 being V7 (see ii-V-I turnaround and circle progression). An approach chord may also be the chord immediately preceding the target chord such as the subdominant (F Maj7) preceding the tonic (CMaj7) creating a strong cadence through the contrast of no more than two common tones: ''FA''CE – CE''GB''. Approach chords may thus be a semitone or a fifth or fourth from their target. Approach chords create the harmonic space of the modes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Seventh Chord
The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, 3, 5, 7). For example, the diminished seventh chord built on C, commonly written as C7, has pitches C–E–G–B (A): : As such, a diminished seventh chord comprises a diminished triad plus a diminished seventh. Because of this, it can also be viewed as four notes all stacked in intervals of a minor third and can be represented by the integer notation . Since a diminished seventh interval is enharmonically equivalent to a major sixth, the chord is enharmonically equivalent to (1, 3, 5, 6). The diminished seventh chord occurs as a leading-tone seventh chord in the harmonic minor scale. It typically has dominant function and contains two diminished fifths, which often resolve inwards. In most sheet music books, the notation Cdim or C denotes a diminis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diminished Seventh Chord
The diminished seventh chord is a four-note chord (a seventh chord) composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root: (1, 3, 5, 7). For example, the diminished seventh chord built on C, commonly written as C7, has pitches C–E–G–B (A): : As such, a diminished seventh chord comprises a diminished triad plus a diminished seventh. Because of this, it can also be viewed as four notes all stacked in intervals of a minor third and can be represented by the integer notation . Since a diminished seventh interval is enharmonically equivalent to a major sixth, the chord is enharmonically equivalent to (1, 3, 5, 6). The diminished seventh chord occurs as a leading-tone seventh chord in the harmonic minor scale. It typically has dominant function and contains two diminished fifths, which often resolve inwards. In most sheet music books, the notation Cdim or C denotes a diminis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Circle Progression
A circle is a shape consisting of all points in a plane that are at a given distance from a given point, the centre. Equivalently, it is the curve traced out by a point that moves in a plane so that its distance from a given point is constant. The distance between any point of the circle and the centre is called the radius. Usually, the radius is required to be a positive number. A circle with r=0 (a single point) is a degenerate case. This article is about circles in Euclidean geometry, and, in particular, the Euclidean plane, except where otherwise noted. Specifically, a circle is a simple closed curve that divides the plane into two regions: an interior and an exterior. In everyday use, the term "circle" may be used interchangeably to refer to either the boundary of the figure, or to the whole figure including its interior; in strict technical usage, the circle is only the boundary and the whole figure is called a '' disc''. A circle may also be defined as a special k ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adolf Bernhard Marx
Friedrich Heinrich Adolf Bernhard Marx . B. Marx(15 May 1795, Halle – 17 May 1866, Berlin) was a German music theorist, critic, and musicologist. Life Marx was the son of a Jewish doctor in Halle who, though a member of the congregation, was according to his son a convinced atheist. Marx was given the names Samuel Moses at birth, but changed these at his baptism in 1819. He began his career studying law at Halle, but also learned musical composition there—a fellow student was the composer Carl Loewe. After rejecting an offer for legal appointment at Naumburg, in 1821 he went to Berlin, where in 1825 Adolf Martin Schlesinger appointed him editor of the music journal he had founded, the ''Berliner allgemeine musikalische Zeitung''. Marx's intellectual critiques were appreciated by, amongst others, Beethoven, although they often offended the Berlin establishment, including Carl Friedrich Zelter. Marx became an intimate of the family of Felix Mendelssohn, who was greatly infl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Moritz Hauptmann
Moritz Hauptmann (13 October 1792, Dresden – 3 January 1868, Leipzig), was a German music theorist, teacher and composer. His principal theoretical work is the 1853 ''Die Natur der Harmonie und der Metrik'' explores numerous topics, particular the philosophy of music. Biography Hauptmann was born in Dresden, and studied violin under Scholz, piano under Franz Lanska, composition under Grosse and Francesco Morlacchi (the rival of Carl Maria von Weber). He completed his education as a violinist and composer under Louis Spohr, and until 1821 held various appointments in private families. In addition, he studied mathematics and acoustics. Hauptmann was initially employed as an architect before finding success as a musician. Notable in his early musical output is a grand tragic opera, ''Mathilde.'' He joined the orchestra of Kassel in 1822 under Spohr's direction. There, he first taught composition and music theory. His pupils included Ferdinand David, Friedrich Burgmüller, Friedr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gottfried Weber
Jacob Gottfried Weber (March 1, 1779 – September 21, 1839) was a prominent German writer on music (especially on music theory), composer, and jurist. Biography Weber was born at Freinsheim. From 1824 to 1839, he was the editor of ''Cäcilia'', a musical periodical published in Mainz, which influenced musical thought in Germany during the early Romantic era. His most important work is his ''Versuch einer geordneten Theorie der Tonsetzkunst'' ("Theory of Musical Composition") (Mainz: B. Schott, 1817–21), which introduced several concepts that have since become important in the study of music theory. In this work, Weber develops the idea of "Mehrdeutigkeit" (that is, "multiple meaning"), a term initially introduced by Georg Joseph Vogler. Weber's "multiple meaning" refers to individual tones and harmonies, based on their context in a piece of music. For example, a C major triad may serve as I in C major, IV in G major, V in F major, etc. "To analyze a chord, a theorist must as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voicing (music)
In music theory, voicing refers to two closely related concepts: # How a musician or group distributes, or spaces, notes and chords on one or more instruments # The simultaneous vertical placement of notes in relation to each other; this relates to the concepts of spacing and doubling It includes the instrumentation and vertical spacing and ordering of the musical notes in a chord: which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each note. Vertical placement The following three chords are all C-major triads in root position with different voicings. The first is in close position (the most compact voicing), while the second and third are in open position (that is, with wider spacing). Notice also that the G is doubled at the octave in the third chord; that is, it appears in two different octaves. : Examples Many composers, as they developed and gained experience, became more enterp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch Class
In music, a pitch class (p.c. or pc) is a set of all pitches that are a whole number of octaves apart; for example, the pitch class C consists of the Cs in all octaves. "The pitch class C stands for all possible Cs, in whatever octave position." Important to musical set theory, a pitch class is "all pitches related to each other by octave, enharmonic equivalence, or both." Thus, using scientific pitch notation, the pitch class "C" is the set : = . Although there is no formal upper or lower limit to this sequence, only a few of these pitches are audible to humans. Pitch class is important because human pitch-perception is periodic: pitches belonging to the same pitch class are perceived as having a similar quality or color, a property called " octave equivalence". Psychologists refer to the quality of a pitch as its "chroma". A ''chroma'' is an attribute of pitches (as opposed to ''tone height''), just like hue is an attribute of color. A ''pitch class'' is a set of all ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
