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Trichord
In music theory, a trichord () is a group of three different pitch classes found within a larger group. A trichord is a contiguous three-note set from a musical scale or a twelve-tone row. In musical set theory there are twelve trichords given inversional equivalency, and, without inversional equivalency, nineteen trichords. These are numbered 1–12, with symmetrical trichords being unlettered and with uninverted and inverted nonsymmetrical trichords lettered A or B, respectively. They are often listed in prime form, but may exist in different voicings; different inversions at different transpositions. For example, the major chord, 3-11B (prime form: ,4,7, is an inversion of the minor chord, 3-11A (prime form: ,3,7. 3-5A and B are the Viennese trichord (prime forms: ,1,6and ,5,6. Historical Russian definition In late-19th to early 20th-century Russian musicology, the term trichord (трихорд ()) meant something more specific: a set of three pitches, each at least ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viennese Trichord
In music theory, a Viennese trichord (also Viennese fourth chord and tritone-fourth chordDeLone, Richard, et al (1975). ''Aspects of 20th Century Music'', p. 348. Englewood Cliffs, New Jersey: Prentice-Hall .), named for the Second Viennese School, is a pitch set with prime form (0,1,6). Its Forte number is 3-5. The sets C–D–G and C–F–G are both examples of Viennese trichords, though they may be voiced in many ways. According to Henry Martin, " mposers such as Webern ... are partial to 016 trichords, given their 'more dissonant' inclusion of ics 1 and 6."Martin, Henry (Winter, 2000). "Seven Steps to Heaven: A Species Approach to Twentieth-Century Analysis and Composition", p. 149, ''Perspectives of New Music'', vol. 38, no. 1, pp. 129–168. In jazz and popular music, the chord formed by the inversion of the set usually has a dominant function, being the third, seventh, and added fourth/eleventh of a dominant chord with elided root In vascular plants, the roots ar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Set Theory
Musical set theory provides concepts for categorizing musical objects and describing their relationships. Howard Hanson first elaborated many of the concepts for analyzing tonal music. Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, drawing on the twelve-tone theory of Milton Babbitt. The concepts of musical set theory are very general and can be applied to tonal and atonal styles in any equal temperament tuning system, and to some extent more generally than that. One branch of musical set theory deals with collections ( sets and permutations) of pitches and pitch classes (pitch-class set theory), which may be ordered or unordered, and can be related by musical operations such as transposition, melodic inversion, and complementation. Some theorists apply the methods of musical set theory to the analysis of rhythm as well. Mathematical set theory versus musical set theory Although musical set theory is often thought to involve t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tone Row
In music, a tone row or note row (german: Reihe or '), also series or set, is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found. History and usage Tone rows are the basis of Arnold Schoenberg's twelve-tone technique and most types of serial music. Tone rows were widely used in 20th-century contemporary music, like Dmitri Shostakovich's use of twelve-tone rows, "without dodecaphonic transformations." A tone row has been identified in the A minor prelude, BWV 889, from book II of J.S. Bach's ''The Well-Tempered Clavier'' (1742) and by the late eighteenth century it is found in works such as Mozart's C major String Quartet, K. 157 (1772), String Quartet in E-flat major, K. 428, String Quintet in G minor, K. 516 (1790), and the Symphony in G minor, K. 550 (1788). Beethoven also used the technique but, on the whole, "Mozart seems to have employe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Concerto For Nine Instruments (Webern)
Anton Webern's Concerto for Nine Instruments, Op. 24 (German: Konzert für neun Instrumente), written in 1934, is a twelve-tone concerto for nine instruments: flute, oboe, clarinet, horn, trumpet, trombone, violin, viola, and piano. It consists of three movements: The concerto is based on a derived row, "often cited Milton_Babbitt.html"_;"title="uch_as_by_Milton_Babbitt">uch_as_by_Milton_Babbitt_(1972)as_a_paragon_of_symmetry.html" "title="Milton_Babbitt_(1972).html" ;"title="Milton_Babbitt.html" ;"title="uch as by Milton Babbitt">uch as by Milton Babbitt (1972)">Milton_Babbitt.html" ;"title="uch as by Milton Babbitt">uch as by Milton Babbitt (1972)as a paragon of symmetry">symmetrical construction".Bailey (1996), p.246. The tone row is shown below. Whittall, Arnold. 2008. ''The Cambridge Introduction to Serialism. Cambridge Introductions to Music'', p. 97. New York: Cambridge University Press. (pbk). : In the words of Luigi Dallapiccola, the concerto is "a work of incredi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Set (music)
A set (pitch set, pitch-class set, set class, set form, set genus, pitch collection) in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. . A set by itself does not necessarily possess any additional structure, such as an ordering or permutation. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis. Two-element sets are called dyads, three-eleme ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carlton Gamer
Carlton Gamer (born February 13, 1929 in Chicago, Illinois) is an American composer and music theorist. He has taught at Colorado College, Princeton University, and the University of Michigan. He studied at Northwestern University and Boston University and privately with Roger Sessions. Gamer has composed more than seventy works in a variety of categories, including songs, music for dance, solo piano pieces, chamber music, choral works, orchestral works, and computer music. Career His music has been featured in New York's Carnegie Recital Hall, the Kennedy Center in Washington, D.C., the Los Angeles County Museum of Art, and in some sixty other venues throughout the U.S. Among its presenters have been the International Society of Contemporary Music, the Society of Composers, Inc., the Current and Modern Consort of the University of Michigan School of Music, the College Music Society, and the John F. Kennedy Center for the Performing Arts—Rockefeller Foundation International Compe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Triad (music)
In music, a triad is a set of three notes (or "pitch classes") that can be stacked vertically in thirds.Ronald Pen, ''Introduction to Music'' (New York: McGraw-Hill, 1992): 81. . "A triad is a set of notes consisting of three notes built on successive intervals of a third. A triad can be constructed upon any note by adding alternating notes drawn from the scale.... In each case the note that forms the foundation pitch is called the ''root'', the middle tone of the triad is designated the ''third'' (because it is separated by the interval of a third from the root), and the top tone is referred to as the ''fifth'' (because it is a fifth away from the root)." Triads are the most common chords in Western music. When stacked in thirds, notes produce triads. The triad's members, from lowest-pitched tone to highest, are called: * the root **Note: Inversion does not change the root. (The third or fifth can be the lowest note.) * the third – its interval above the root being a minor thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexachord
In music, a hexachord (also hexachordon) is a six-note series, as exhibited in a scale (hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the gr, ἑξάχορδος, compounded from ἕξ (''hex'', six) and χορδή (''chordē'', string f the lyre whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). Middle Ages The hexachord as a mnemonic device was first described by Guido of Arezzo, in his ''Epistola de ignoto cantu''. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ''ut'', ''re'', ''mi'', ''fa'', ''sol'', and ''la'', with the semitone between ''mi'' and ''fa''. These six names are derived from the fir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Webern
Anton Friedrich Wilhelm von Webern (3 December 188315 September 1945), better known as Anton Webern (), was an Austrian composer and conductor whose music was among the most radical of its milieu in its sheer concision, even aphorism, and steadfast embrace of then novel atonal and twelve-tone techniques. With his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was at the core of those within the broader circle of the Second Viennese School. Little known in the earlier part of his life, mostly as a student and follower of Schoenberg, but also as a peripatetic and often unhappy theater music director with a mixed reputation as an exacting conductor, Webern came to some prominence and increasingly high regard as a vocal coach, choirmaster, conductor, and teacher during Red Vienna. With Schoenberg away at the Prussian Academy of Arts (and with the benefit of a publication agreement secured through Universal Edition), Webern began writing music of increasing confidenc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Suspended Chord
A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second. The lack of a minor or a major third in the chord creates an open sound, while the dissonance between the fourth and fifth or second and root creates tension. When using popular-music symbols, they are indicated by the symbols "sus4" and "sus2". For example, the suspended fourth and second chords built on C (C–E–G), written as Csus4 and Csus2, have pitches C–F–G and C–D–G, respectively. Suspended fourth and second chords can be represented by the integer notation and , respectively. Analysis The term is borrowed from the contrapuntal technique of ''suspension'', where a note from a previous chord is carried over to the next chord, and then resolved down to the third or tonic, ''suspending'' a note from the previous chord. However, in modern usage the term concerns only the notes played at a given time – the susp ... [...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] |
12TET
Twelve-tone equal temperament (12-TET) is the musical system that divides the octave into 12 parts, all of which are equally tempered (equally spaced) on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. Twelve-tone equal temperament is the most widespread system in music today. It has been the predominant tuning system of Western music, starting with classical music, since the 18th century, and Europe almost exclusively used approximations of it for millennia before that. It has also been used in other cultures. In modern times, 12-TET is usually tuned relative to a standard pitch of 440 Hz, called A440, meaning one note, A, is tuned to 440 hertz and all other notes are defined as some multiple of semitones apart from it, either higher or lower in frequency. The standard pitch has not always been 440 Hz. It has varied and generally risen over t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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