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Minor Sixth
In Western classical music, a minor sixth is a musical interval encompassing six staff positions (see Interval number for more details), and is one of two commonly occurring sixths (the other one being the major sixth). It is qualified as ''minor'' because it is the smaller of the two: the minor sixth spans eight semitones, the major sixth nine. For example, the interval from A to F is a minor sixth, as the note F lies eight semitones above A, and there are six staff positions from A to F. Diminished and augmented sixths span the same number of staff positions, but consist of a different number of semitones (seven and ten respectively). Equal temperament In 12-tone equal temperament (12-ET), the minor sixth is enharmonically equivalent to the augmented fifth. It occurs in first inversion major and dominant seventh chords and second inversion minor chords. It is equal to eight semitones, i.e. a ratio of 28/12:1 or simplified to 22/3:1 (about 1.587), or 800 cents. Just temper ... [...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] |
5-limit Tuning
Five-limit tuning, 5-limit tuning, or 5-prime-limit tuning (not to be confused with 5-odd-limit tuning), is any system for tuning a musical instrument that obtains the frequency of each note by multiplying the frequency of a given reference note (the base note) by products of integer powers of 2, 3, or 5 (prime numbers limited to 5 or lower), such as . Powers of 2 represent intervallic movements by octaves. Powers of 3 represent movements by intervals of perfect fifths (plus one octave, which can be removed by multiplying by 1/2, i.e., 2−1). Powers of 5 represent intervals of major thirds (plus two octaves, removable by multiplying by 1/4, i.e., 2−2). Thus, 5-limit tunings are constructed entirely from stacking of three basic purely-tuned intervals (octaves, thirds and fifths). Since the perception of consonance seems related to low numbers in the harmonic series, and 5-limit tuning relies on the three lowest primes, 5-limit tuning should be capable of producing very consonan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Tuning
In music, there are two common meanings for tuning: * Tuning practice, the act of tuning an instrument or voice. * Tuning systems, the various systems of pitches used to tune an instrument, and their theoretical bases. Tuning practice Tuning is the process of adjusting the pitch of one or many tones from musical instruments to establish typical intervals between these tones. Tuning is usually based on a fixed reference, such as A = 440 Hz. The term "''out of tune''" refers to a pitch/tone that is either too high (sharp) or too low (flat) in relation to a given reference pitch. While an instrument might be in tune relative to its own range of notes, it may not be considered 'in tune' if it does not match the chosen reference pitch. Some instruments become 'out of tune' with temperature, humidity, damage, or simply time, and must be readjusted or repaired. Different methods of sound production require different methods of adjustment: * Tuning to a pitch with one's voic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Subminor Interval
In music, a subminor interval is an interval that is noticeably wider than a diminished interval but noticeably narrower than a minor interval. It is found in between a minor and diminished interval, thus making it below, or subminor to, the minor interval. A supermajor interval is a musical interval that is noticeably wider than a major interval but noticeably narrower than an augmented interval. It is found in between a major and augmented interval, thus making it above, or supermajor to, the major interval. The inversion of a supermajor interval is a subminor interval, and there are four major and four minor intervals, allowing for eight supermajor and subminor intervals, each with variants. Traditionally, "supermajor and superminor, rethe names given to certain thirds :7 and 17:14found in the justly intoned scale with a natural or subminor seventh."Brabner, John H. F. (1884). The National Encyclopaedia', vol. 13, p. 182. London. Subminor second and supermajor seventh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Supermajor Third
In music, a subminor interval is an interval that is noticeably wider than a diminished interval but noticeably narrower than a minor interval. It is found in between a minor and diminished interval, thus making it below, or subminor to, the minor interval. A supermajor interval is a musical interval that is noticeably wider than a major interval but noticeably narrower than an augmented interval. It is found in between a major and augmented interval, thus making it above, or supermajor to, the major interval. The inversion of a supermajor interval is a subminor interval, and there are four major and four minor intervals, allowing for eight supermajor and subminor intervals, each with variants. Traditionally, "supermajor and superminor, rethe names given to certain thirds :7 and 17:14found in the justly intoned scale with a natural or subminor seventh."Brabner, John H. F. (1884). The National Encyclopaedia', vol. 13, p. 182. London. Subminor second and supermajor seventh ... [...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] |
Medieval Music
Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period. Following the traditional division of the Middle Ages, medieval music can be divided into Early (500–1150), High (1000–1300), and Late (1300–1400) medieval music. Medieval music includes liturgical music used for the church, and secular music, non-religious music; solely vocal music, such as Gregorian chant and choral music (music for a group of singers), solely instrumental music, and music that uses both voices and instruments (typically with the instruments accompanying the voices). Gregorian chant was sung by monks during Catholic Mass. The Mass is a reenactment of Christ's Last Supper, intended to provide a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fourth
A fourth is a musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth () is the fourth spanning five semitones (half steps, or half tones). For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished and augmented fourths span the same number of staff positions, but consist of a different number of semitones (four and six, respectively). The perfect fourth may be derived from the harmonic series as the interval between the third and fourth harmonics. The term ''perfect'' identifies this interval as belonging to the group of perfect intervals, so called because they are neither major nor minor. A perfect fourth in just intonation corresponds to a pitch ratio of 4:3, or about 498 cents (), while in equal temperament a perfect fourth is equal to five semitones, or 500 cents (see additive s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fifth
In music theory, a perfect fifth is the Interval (music), musical interval corresponding to a pair of pitch (music), pitches with a frequency ratio of 3:2, or very nearly so. In classical music from Western culture, a fifth is the interval from the first to the last of five consecutive Musical note, notes in a diatonic scale. The perfect fifth (often abbreviated P5) spans seven semitones, while the Tritone, diminished fifth spans six and the augmented fifth spans eight semitones. For example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C. The perfect fifth may be derived from the Harmonic series (music), harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant (music), dominant note is a perfect fifth above the tonic (music), tonic note. The perfect fifth is more consonance and dissonance, consonant, or stable, than any other interval except the unison and the octave. It occurs above the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octave
In music, an octave ( la, octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music," the use of which is "common in most musical systems." The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class. To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated ''8a'' or ''8va'' ( it, all'ottava), ''8va bassa'' ( it, all'ottava bassa, sometimes also ''8vb''), or simply ''8'' for the octave in the direction indicated by placing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Common Practice
In European art music, the common-practice period is the era of the tonal system. Most of its features persisted from the mid-Baroque period through the Classical and Romantic periods, roughly from 1650 to 1900. There was much stylistic evolution during these centuries, with patterns and conventions flourishing and then declining, such as the sonata form. The most prominent, unifying feature throughout the period is a harmonic language to which music theorists can today apply Roman numeral chord analysis. Technical features Harmony The harmonic language of this period is known as "common-practice tonality", or sometimes the "tonal system" (though whether tonality implies common-practice idioms is a question of debate). Common-practice tonality represents a union between harmonic function and counterpoint. In other words, individual melodic lines, when taken together, express harmonic unity and goal-oriented progression. In tonal music, each tone in the diatonic scale function ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
