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Mediant
In music, the mediant (''Latin'': to be in the middle) is the third scale degree () of a diatonic scale, being the note halfway between the tonic and the dominant.Benward & Saker (2003), p.32. In the movable do solfège system, the mediant note is sung as ''mi''. While the fifth scale degree is almost always a perfect fifth, the mediant can be a major or minor third. Schenkerian analysts consider this scale degree as expansion of the tonic since they have two common tones. On the other hand, in German theory derived from Hugo Riemann the mediant in major is considered the dominant parallel, Dp, and in minor the tonic parallel, tP. In Roman numeral analysis, the mediant chord can take several forms. In major scales, the mediant chord is a minor triad and is symbolized with the Roman numeral iii. In natural minor scales, the mediant is a major triad and is symbolized with the Roman numeral III. In harmonic minor scales and ascending melodic minor scales, the seventh scale d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic Parallel
Parallel and counter parallel chords are terms derived from the German (''Parallelklang'', ''Gegenparallelklang'') to denote what is more often called in English the "relative", and possibly the "counter relative" chords. In Hugo Riemann's theory, and in German theory more generally, these chords share the function of the chord to which they link: subdominant parallel, dominant parallel, and tonic parallel.Haunschild, Frank (2000). ''The New Harmony Book'', p.47. . Riemann defines the relation in terms of the movement of one single note: For example, the major and and minor and . :The tonic, subdominant, and dominant chords, in root position, each followed by its parallel. The parallel is formed by raising the fifth a whole tone. :The minor tonic, subdominant, dominant, and their parallels, created by lowering the fifth (German)/root (US) a whole tone. The parallel chord (but ''not'' the counter parallel chord) of a major chord will always be the minor cho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Parallel
Parallel and counter parallel chords are terms derived from the German (''Parallelklang'', ''Gegenparallelklang'') to denote what is more often called in English the "relative", and possibly the "counter relative" chords. In Hugo Riemann's theory, and in German theory more generally, these chords share the function of the chord to which they link: subdominant parallel, dominant parallel, and tonic parallel.Haunschild, Frank (2000). ''The New Harmony Book'', p.47. . Riemann defines the relation in terms of the movement of one single note: For example, the major and and minor and . :The tonic, subdominant, and dominant chords, in root position, each followed by its parallel. The parallel is formed by raising the fifth a whole tone. :The minor tonic, subdominant, dominant, and their parallels, created by lowering the fifth (German)/root (US) a whole tone. The parallel chord (but ''not'' the counter parallel chord) of a major chord will always be the minor cho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Degree (music)
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 particu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roman Numeral Analysis
In music theory, Roman numeral analysis is a type of musical analysis in which chords are represented by Roman numerals (I, II, III, IV, …). In some cases, Roman numerals denote scale degrees themselves. More commonly, however, they represent the chord whose root note is that scale degree. For instance, III denotes either the third scale degree or, more commonly, the chord built on it. Typically, uppercase Roman numerals (such as I, IV, V) are used to represent major chords, while lowercase Roman numerals (such as ii, iii, vi) are used to represent minor chords (see Major and Minor below for alternative notations). However, some music theorists use upper-case Roman numerals for all chords, regardless of chord quality.Roger Sessions (1951). ''Harmonic Practice''. New York: Harcourt, Brace. . p. 7. In Western classical music in the 2000s, some music students and theorists use Roman numeral analysis to analyze the harmony of a composition. In pop, rock, traditional music, and jaz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic Scale
In music theory, a diatonic scale is any heptatonic scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps, depending on their position in the scale. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are Maximal evenness, maximally separated from each other (i.e. separated by at least two whole steps). The seven pitch (music), pitches of any diatonic scale can also be obtained by using a Interval cycle, chain of six perfect fifths. For instance, the seven natural (music), natural pitch classes that form the C-major scale can be obtained from a stack of perfect fifths starting from F: :F–C–G–D–A–E–B Any sequence of seven successive natural notes, such as C–D–E–F–G–A–B, and any Transposition (music), transposition thereof, is a diatonic scale. Modern musical keyboards are des ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Scale
The major scale (or Ionian mode) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth). The simplest major scale to write is C major, the only major scale not requiring sharps or flats: The major scale had a central importance in Western music, particularly in the common practice period and in popular music. In Carnatic music, it is known as '' Sankarabharanam''. In Hindustani classical music, it is known as '' Bilaval''. Structure A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is: : whole, whole, half, whole, whole, whole, half where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the figu ... [...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 jazz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Subtonic
In music, the subtonic is the degree of a musical scale which is a whole step below the tonic note. In a major key, it is a lowered, or flattened, seventh scale degree (). It appears as the seventh scale degree in the natural minor and descending melodic minor scales but not in the major scale. In major keys, the subtonic sometimes appears in borrowed chords. In the movable do solfège system, the subtonic note is sung as ''te'' (or ''ta''). The subtonic can be contrasted with the leading note, which is a ''half step'' below the tonic. The distinction between leading note and subtonic has been made by theorists since at least the second quarter of the 20th century. Before that, the term ''subtonic'' often referred to the leading tone triad, for example. The word ''subtonic'' is also used as an English translation of ''subtonium'', the Latin term used in Gregorian chant theory for the similar usage of a tone one whole step below the mode final in the Dorian, Phrygian, and Mi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Half Step
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale. For example, C is adjacent to C; the interval between them is a semitone. In a 12-note approximately equally divided scale, any interval can be defined in terms of an appropriate number of semitones (e.g. a whole tone or major second is 2 semitones wide, a major third 4 semitones, and a perfect fifth 7 semitones. In music theory, a distinction is made between a diatonic semitone, or minor second (an interval encompassing two different staff positions, e.g. from C to D) and a chromatic semitone or augmented unison (an interval between two notes at the same staff position, e.g. from C to C). These are enharmonically equivalent when twelve-tone equal temperament is used, but are not the same thing in meantone temp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading Tone
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 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 strong affinity for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonic Minor Scales
In music theory, the minor scale is three scale patterns – the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending) – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form. In each of these scales, the first, third, and fifth scale degrees form a minor triad (rather than a major triad, as in a major scale). In some contexts, ''minor scale'' is used to refer to any heptatonic scale with this property (see Related modes below). Natural minor scale Relationship to relative major A natural minor scale (or Aeolian mode) is a diatonic scale that is built by starting on the sixth degree of its relative major scale. For instance, the A natural minor scale can be built by starting on the 6th degree of the C major scale: : Because of this, the key of A minor is called the ''relative minor'' of C major. Every major key has a relative minor, which starts on t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augmented Triad
Augment or augmentation may refer to: Language *Augment (Indo-European), a syllable added to the beginning of the word in certain Indo-European languages *Augment (Bantu languages), a morpheme that is prefixed to the noun class prefix of nouns in certain Bantu languages *Augment, a name sometimes given to the verbal ''ō-'' prefix in Nahuatl grammar Technology *Augmentation (obstetrics), the process by which the first and/or second stages of an already established labour is accelerated or potentiated by deliberate and artificial means *Augmentation (pharmacology), the combination of two or more drugs to achieve better treatment results *Augmented reality, a live view of a physical, real-world environment whose elements are ''augmented'' by computer-generated sensory input *Augmented cognition, a research field that aims at creating revolutionary human-computer interactions *Augment (Tymshare), a hypertext system derived from Douglas Engelbart's oN-Line System, renamed "Augment" b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
