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Linear Progression
In music, a linear progression (''Auskomponierungszug'' or '' Zug'', abbreviated: ''Zg.'') is a passing note elaboration involving stepwise melodic motion in one direction between two harmonic tones. "The compositional unfolding of a specific interval, one of the intervals of the chord of nature."Jonas, Oswald (1982). ''Introduction to the Theory of Heinrich Schenker'', p.62. (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''). Trans. John Rothgeb. . The mention of the "chord of nature" in this context reflects Jonas' own opinion, which Schenker would not have shared, if only because the minor chord cannot be a "chord of nature". See Klang (music). For example: -- over the tonic. According to Schenker: "A linear progression always presupposes a passing note; there can be no linear progression without a passing note, no passing note without a linear progression." In German ''Zug'' may be combined with prefixes to create related w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ursatz 321IVI Revised
In Schenkerian analysis, the fundamental structure (german: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The example hereby shows a fundamental structure in C major, with the fundamental line descending from scale degree : The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the har ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor. These chords may also appear as seventh chords: in major, as IM7, or in minor as i7 or rarely iM7: The tonic is distinguished from the root, which is the reference note of a chord, ra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Linear Progression In Mozart Piano Sonata In G Major
Linearity is the property of a mathematical relationship (''function'') that can be graphically represented as a straight line. Linearity is closely related to '' proportionality''. Examples in physics include rectilinear motion, the linear relationship of voltage and current in an electrical conductor ( Ohm's law), and the relationship of mass and weight. By contrast, more complicated relationships are ''nonlinear''. Generalized for functions in more than one dimension, linearity means the property of a function of being compatible with addition and scaling, also known as the superposition principle. The word linear comes from Latin ''linearis'', "pertaining to or resembling a line". In mathematics In mathematics, a linear map or linear function ''f''(''x'') is a function that satisfies the two properties: * Additivity: . * Homogeneity of degree 1: for all α. These properties are known as the superposition principle. In this definition, ''x'' is not necessarily a rea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice (music)
A part (or voice) generally refers to a single strand or melody or harmony of music within a larger ensemble or a polyphonic musical composition. There are several senses in which the word is often used: * the physical copy of printed or written sheet music given to any individual instrument or voice (as opposed to the full score which shows all parts in the same document). A musician's part usually does not contain instructions for the other players in the ensemble, only instructions for that individual. * the music played by any group of musicians who all perform in unison for a given piece; in a symphony orchestra, a dozen or more cello players may all play "the same part" even if they each have their own physical copy of the music. This sense of "part" does not require a written copy of the music; a bass player in a rock band "plays the bass part" even if there is no written version of the song. * any individual melody that can be abstracted as continuous and independent f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prolongation
In music theory, prolongation is the process in tonal music through which a pitch, interval, or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's ''Auskomponierung'' (better translated as "composing out" or "elaboration"). According to Fred Lerdahl, "The term 'prolongation' ..usually means 'composing out' (Schenker's own intention for the term is open to debate)." Prolongation can be thought of as a way of generating musical content through the linear elaboration of simple and basic tonal structures with progressively increasing detail and sophistication,William Drabkin. "Prolongation." Grove Music Online. Oxford Music Online. 2 Aug. 2011 . and thus analysis consists of a reduction from detail to structure. Important to the operation of prolongation is the hiera ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Third (chord)
In music, the third factor of a chord is the note or pitch two scale degrees above the root or tonal center. When the third is the bass note, or lowest note, of the expressed triad, the chord is in first inversion. Use Conventionally, the third is third in importance to the root and fifth, with the third in all primary triads (I, IV, V and i, iv, v) being either major or minor. In jazz chords and theory, the third is required due to it determining chord quality. The third in both major and augmented chords is major (E in C) and the third in both minor and diminished chords is minor (E in C). Tenth In music and music theory, a tenth is the note ten scale degrees from the root of a chord and also the interval between the root and the tenth. Since there are only seven degrees in a diatonic scale the tenth degree is the same as the mediant and the interval of a tenth is a compound third. See also * List of third intervals Third interval may refer to one of the foll ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Reaching Over
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how it relates to an abstracted deep structure, the ''Ursatz''. This primal structure is roughly the same for any tonal work, but a Schenkerian analysis shows how, in an individual case, that structure develops into a unique work at the "foreground", the level of the score itself. A key theoretical concept is "tonal space". The intervals between the notes of the tonic triad in the background form a ''tonal space'' that is filled with passing and neighbour tones, producing new triads and new tonal spaces that are open for further elaborations until the "surface" of the work (the score) is reached. The analysis uses a specialized symbolic form of musical notation. Although Schenker himself usually presents his analyses in the generative direction, starting from the fundamental structure (''Ursatz'') t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nonchord Tone
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 implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord (see: factor (chord)). Non-chord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music. Nonchord tones are often categorized as ''accented non-chord tones'' and ''unaccented non-chord tones'' depending on whether the dissonance occurs on an accented or unaccented beat (or part of a beat). Over time, some musical styles assimilated chord types outside of the common-practice style. In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a minor seventh chord. For example, in 1940s-era bebop jazz, an F played ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Klang (music)
In music, ''klang'' (also "clang") is a term sometimes used to translate the German ''Klang'', a highly polysemic word. Technically, the term denotes any periodic sound, especially as opposed to simple periodic sounds (sine tones). In the German lay usage, it may mean "sound" or "tone" (as synonymous to ''Ton''), "musical tone" (as opposed to noise), "note", or "timbre"; a chord of three notes is called a ''Dreiklang'', etc. ''Klang'' has been used among others by Hugo Riemann and by Heinrich Schenker. In translations of their writings, it has erroneously been rendered as " chord" and more specifically as "chord of nature". The idea of the chord of nature connects with earlier ideas that can be found especially in French music theory. Both Hugo Riemann and Heinrich Schenker implicitly or explicitly refer to the theory of the chord of nature (which they recognize as a triad, a ''Dreiklang''), but both reject the theory as a foundation of music because it fails to explain the minor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Decorated Third Progression Revised
In addition to its ordinary English meaning, decorated can mean: *In architecture, "Decorated", "Decorated Period English Gothic is an architectural style that flourished from the late 12th until the mid-17th century. The style was most prominently used in the construction of cathedrals and churches. Gothic architecture's defining features are pointed ar ...", or "Decorated Gothic" is a period and style of mediaeval Gothic architecture. * A person who has been awarded a military award or decoration is often said to have been "decorated". See also * Decoration (other) {{disambig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Of Nature
In music, ''klang'' (also "clang") is a term sometimes used to translate the German ''Klang'', a highly polysemic word. Technically, the term denotes any periodic sound, especially as opposed to simple periodic sounds (sine tones). In the German lay usage, it may mean "sound" or "tone" (as synonymous to ''Ton''), "musical tone" (as opposed to noise), "note", or "timbre"; a chord of three notes is called a ''Dreiklang'', etc. ''Klang'' has been used among others by Hugo Riemann and by Heinrich Schenker. In translations of their writings, it has erroneously been rendered as " chord" and more specifically as "chord of nature". The idea of the chord of nature connects with earlier ideas that can be found especially in French music theory. Both Hugo Riemann and Heinrich Schenker implicitly or explicitly refer to the theory of the chord of nature (which they recognize as a triad, a ''Dreiklang''), but both reject the theory as a foundation of music because it fails to explain the mino ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmony
In music, harmony is the process by which individual sounds are joined together or composed into whole units or compositions. Often, the term harmony refers to simultaneously occurring frequencies, pitches ( tones, notes), or chords. However, harmony is generally understood to involve both vertical harmony (chords) and horizontal harmony (melody). Harmony is a perceptual property of music, and, along with melody, one of the building blocks of Western music. Its perception is based on consonance, a concept whose definition has changed various times throughout Western music. In a physiological approach, consonance is a continuous variable. Consonant pitch relationships are described as sounding more pleasant, euphonious, and beautiful than dissonant relationships which sound unpleasant, discordant, or rough. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Counterpoint, which refers to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
