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Dominant Seventh Flat Five
In music theory, the dominant seventh flat five chord is a seventh chord composed of a root note, together with a major third, a diminished fifth, and a minor seventh above the root (1, 3, 5 and 7). For example, the dominant seventh flat five chord built on C, commonly written as C75, is composed of the pitches C–E–G–B: : It can be represented by the integer notation . This chord is enharmonically equivalent to its own second inversion. That is, it has the same notes as the dominant seventh flat five chord a tritone away (although they may be spelled differently), so for instance, F75 and C75 are enharmonically equivalent. Because of this property, it readily functions as a pivot chord. It is also frequently encountered in tritone substitutions. In this sense, there are only six "unique" dominant seventh flat five chords. In diatonic harmony, the dominant seventh flat five chord does not naturally occur on any scale degree (as does, for example, the dominant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root
In vascular plants, the roots are the organs of a plant that are modified to provide anchorage for the plant and take in water and nutrients into the plant body, which allows plants to grow taller and faster. They are most often below the surface of the soil, but roots can also be aerial or aerating, that is, growing up above the ground or especially above water. Function The major functions of roots are absorption of water, plant nutrition and anchoring of the plant body to the ground. Anatomy Root morphology is divided into four zones: the root cap, the apical meristem, the elongation zone, and the hair. The root cap of new roots helps the root penetrate the soil. These root caps are sloughed off as the root goes deeper creating a slimy surface that provides lubrication. The apical meristem behind the root cap produces new root cells that elongate. Then, root hairs form that absorb water and mineral nutrients from the soil. The first root in seed producing plants is the r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scale-degree
In music theory, the scale degree is the position of a particular note on a scale relative to the tonic, the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor. In the most general sense, the scale degree is the number given to each step of the scale, usually starting with 1 for tonic. Defining it like this implies that a tonic is specified. For instance, the 7-tone diatonic scale may become the major scale once the proper degree has been chosen as tonic (e.g. the C-major scale C–D–E–F–G–A–B, in which C is the tonic). If the scale has no tonic, the starting degree must be chosen arbitrarily. In set theory, for instance, the 12 degrees of the chromatic scale usually are numbered starting from C=0, the twelve pitch classes being numbered from 0 to 11. In a more specific sense, scale degrees are given names that indicate their particul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Standard Tuning
In music, standard tuning refers to the typical Musical tuning, tuning of a string instrument. This notion is contrary to that of scordatura, i.e. an alternate tuning designated to modify either the timbre or technical capabilities of the desired instrument. Violin family The most popular bowed strings used nowadays belong to the violin family; together with their respective standard tunings, they are: * Violin – G3 D4 A4 E5 (ascending perfect fifths, starting from G below middle C) * Viola – C3 G3 D4 A4 (a perfect fifth below a violin's standard tuning) * Cello – C2 G2 D3 A3 (an octave lower than the viola) * Double bass – E1 A1 D2 G2 (ascending perfect fourths, where the highest sounding open string coincides with the G on a cello). * Double bass with a low C extension – C1 E1 A1 D2 G2 (the same, except for low C, which is a major third below the low E on a standard 4-string double bass) * 5-stringed double bass – B0 E1 A1 D2 G2 (a low B is added, so the tuning remain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Minor Scale
Lydian may refer to: * Lydians, an ancient people of Anatolia * Lydian language, an ancient Anatolian language * Lydian alphabet ** Lydian (Unicode block) * Lydian (typeface), a decorative typeface * Lydian dominant scale or acoustic scale, a musical scale ** Lydian mode, a mode derived from ancient Greek music See also * Ludian (other) * Lydia (other) Lydia was an Iron Age kingdom of western Asia Minor. Lydia may also refer to: Arts and media Music * Lydia (band), an indie rock band * Lydia (singer) (born 1980), Spanish pop singer * "Lydia" (Fur Patrol song), 2000 * "Lydia" (Highly Suspect ... {{disambiguation Language and nationality disambiguation pages ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading Whole-tone Scale
In music, the major Locrian scale, also called the ''Locrian major scale'', is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G A B. It can be described as a whole tone scale extending from G to E, with F introduced within the diminished third interval from E to G. The scale therefore shares with the Locrian mode the property of having a diminished fifth above the tonic. It can also be the natural minor scale or Aeolian mode with raised third and lowered fifth intervals. It may also be derived from the Phrygian Dominant scale, but this time, the second is major, while the fifth is diminished. In English, Arabian scale may refer to what is known as the major Locrian scale. A version of the major Locrian scale is listed as ''mode 3'' in the French translation of Safi Al-Din's treatise Kitab Al-Adwar. This was a Pythagorean version of the scale. Aside from this Arabic version, interest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Locrian Scale
In music, the major Locrian scale, also called the ''Locrian major scale'', is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G A B. It can be described as a whole tone scale extending from G to E, with F introduced within the diminished third interval from E to G. The scale therefore shares with the Locrian mode the property of having a diminished fifth above the tonic. It can also be the natural minor scale or Aeolian mode with raised third and lowered fifth intervals. It may also be derived from the Phrygian Dominant scale, but this time, the second is major, while the fifth is diminished. In English, Arabian scale may refer to what is known as the major Locrian scale. A version of the major Locrian scale is listed as ''mode 3'' in the French translation of Safi Al-Din's treatise Kitab Al-Adwar. This was a Pythagorean version of the scale. Aside from this Arabic version, interest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neapolitan Major Scale
In music, the major Neapolitan scale and the minor Neapolitan scale are two musical scales. Both scales are minor, in that they both contain the note a minor third above the root. The major and minor Neapolitan scales are instead differentiated by the quality of their sixth. The sequence of scale steps for the Neapolitan minor is as follows:Celentano, Dave (1991). ''Monster Scales and Modes'', p.44. Published by CentreStream. .Burrows, Terry (1999). ''How to Read Music: Reading Music Made Simple'', p.90. .Roth, Dana (2011). ''Encyclopedia of Scales and Modes for Electric Bass'', p.9. .Blatter, Alfred (2012). ''Revisiting Music Theory: A Guide to the Practice'', p.87 & 89. . 1 2 3 4 5 6 7 8 A B C D E F G A , W, W, W, H, WH, H C D E F G A B C And for the Neapolitan major: 1 2 3 4 5 6 7 8 A B C D E F G A , W, W, W, W, W, H C D E F G A B C The scales are distinguished from the harmonic and ascending melodic minor scales by the lowered sup ... [...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] |
Lydian Flat 7 Mode
In music, the acoustic scale, overtone scale, Lydian dominant scale, Lydian 7 scale, or the Pontikonisian Scale is a seven-note synthetic scale. : This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F–G–A–B) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F–G–A–B–C–D). History In traditional music, the overtone scale persists in the music of peoples of South Siberia, especially in Tuvan music. Overtone singing and the sound of the Jew's harp are naturally rich in overtones, but melodies performed on the igil (bowed instrument distantly related to the violin) and plucked string instruments such as the doshpuluur or the chanzy also often follow the overtone scale ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented Minor Seventh Chord
The augmented seventh chord, or seventh augmented fifth chord, or seventh sharp five chord is a seventh chord composed of a root, major third, augmented fifth, and minor seventh (1, 3, 5, 7).Garner, Robert (2007). ''Mel Bay Presents Essential Music Theory for Electric Bass'', p. 69. . It can be viewed as an augmented triad with a minor seventh. When using popular-music symbols, it is denoted by +7, aug7, or 75. For example, the augmented seventh chord built on C, written as C+7, has pitches C–E–G–B: : The chord can be represented by the integer notation . Use The root is the only optional note in an augmented seventh chord, the fifth being required because it is raised. This alteration is useful in the major mode because the raised 5th creates a leading tone to the 3rd of the tonic triad. See also dominant. In rock parlance, the term ''augmented seventh chord'' is sometimes confusingly and erroneously used to refer to the so-called "Hendrix chord", a 79 chord which ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Whole-tone Scale
In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or ''hexatonic'' scales. A single whole-tone scale can also be thought of as a "six-tone equal temperament". : : The whole-tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, ndthe scale creates a blurred, indistinct effect". This effect is especially emphasised by the fact that triads built on such scale tones are all augmented triads. Indeed, all six tones of a whole-tone scale can be played simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole-tone scales do not give a strong impression of the tonic or tonality. The composer Olivier Messiaen called the whole-tone scale his first mode of limited transposition. The composer and music the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fifth (chord)
In music, the fifth factor of a chord is the note or pitch that is the fifth scale degree, counting the root or tonal center. When the fifth is the bass note, or lowest note, of the expressed chord, the chord is in second inversion . Conventionally, the fifth is second in importance to the root, with the fifth being perfect in all primary triads (I, IV, V and i, iv, v). In jazz chords and theory however, the fifth is often omitted, or assumed, in preference for the chord quality determining third and chord extensions and additions. The fifth in a major and minor chord is perfect (G in C). When the fifth of a major chord is raised it is an augmented chord (G in C) . When the fifth of a minor chord is lowered it is a diminished chord (G in C) . The open fifth and power chord consists of only the root, fifth and their octave doublings. See also *Dominant seventh flat five chord In music theory, the dominant seventh flat five chord is a seventh chord composed of a root no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
