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B (musical Note)
B, also known as Si, Ti, or, in some European countries, H, is the seventh note and the twelfth semitone of the fixed-Do solfège. Its enharmonic equivalents are C (C-flat) and A (A-double sharp). When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle B (B4) is 493.883 Hz. See musical pitch for a discussion of historical variations in frequency. Designation by octave Scales Common scales beginning on B * B major: B C D E F G A B * B natural minor: B C D E F G A B * B Harmonic minor: B C D E F G A B * B Melodic minor ascending: B C D E F G A B * B melodic minor descending: B A G F E D C B Diatonic scales * B Ionian: B C D E F G A B * B Dorian: B C D E F G A B * B Phrygian: B C D E F G A B * B Lydian: B C D E F G A B * B Mixolydian: B C D E F G A B * B Aeolian: B C D E F G A B * B Locrian: B C D E F G A B Jazz melodic minor * B Ascending melodic minor: B C D E F G A B * B Dorian ♭2: B C D E F G A B * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Note
In music, notes are distinct and isolatable sounds that act as the most basic building blocks for nearly all of music. This musical analysis#Discretization, discretization facilitates performance, comprehension, and musical analysis, analysis. Notes may be visually communicated by writing them in musical notation. Notes can distinguish the general pitch class or the specific Pitch (music), pitch played by a pitched Musical instrument, instrument. Although this article focuses on pitch, notes for unpitched percussion instruments distinguish between different percussion instruments (and/or different manners to sound them) instead of pitch. Note value expresses the relative Duration (music), duration of the note in time. Dynamics (music), Dynamics for a note indicate how Loudness, loud to play them. Articulation (music), Articulations may further indicate how performers should shape the Envelope (music), attack and decay of the note and express fluctuations in a note's timbre and Pit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian Mode
The Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek music, Ancient Greek ''harmoniai'' (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval Mode (music), musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself. : Greek Dorian mode The Dorian mode (properly ''harmonia'' or ''tonos'') is named after the Dorians, Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the ''hypate meson'' to the ''nete diezeugmenon''. In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third. : In the chromatic genus, they are semitone–semitone–minor third. : In the diatonic genus, they are semitone–tone–tone. : ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Altered Scale
In jazz, the altered scale, altered dominant scale, or super-Locrian scale (Locrian 4 scale) is a seven-note scale that is a dominant scale where all non-essential tones have been altered. The triad formed from the root of the altered scale creates a diminished triad, but due to the inclusion of a diminished 11th, the scale comprises the three irreducibly essential tones that define a dominant seventh chord, which are root, major third, and minor seventh and that all other chord tones have been altered. These are: * the fifth is altered to a 5 * the ninth is altered to a 9 *the eleventh is altered to a 11 (equivalent to a major third) *the thirteenth is altered to a 13 (equivalent to a 5) *and the minor third can be considered a 9 The altered forms of some of the non-essential tones coincide (augmented eleventh with diminished fifth and augmented fifth with minor thirteenth) meaning those scale degrees are enharmonically identical and have multiple potential spellings. The n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Half Diminished Scale
The half diminished scale is a seven-note musical scale. It is more commonly known as the Locrian 2 scale or the Aeolian 5 scale, names that avoid confusion with the diminished scale and the half-diminished seventh chord (minor seventh, diminished fifth). It is the sixth mode of the ascending melodic minor scale. : In the key of B, the half-diminished scale built on C is associated with C m75, which functions as a ii 7 chord in minor (see chord-scale system The chord-scale system is a method of matching, from a list of possible chord (music), chords, a list of possible scale (music), scales.Mervyn Cooke, David Horn (2003). ''Cambridge Companions to Music, The Cambridge Companion to Jazz'', p.266. . ...). References Heptatonic scales Modes (music) Hemitonic scales Tritonic scales {{music-theory-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Dominant Scale
The Aeolian dominant scale (Aeolian 3 scale), Mixolydian 6 scale, descending melodic major scale, or Hindu scale is the fifth mode of the ascending melodic minor scale. It is named Aeolian dominant because its sound derives from having a dominant seventh chord on the tonic in the context of what is otherwise the Aeolian mode. It corresponds to Raga Charukeshi in Indian Classical music. This scale can also be obtained by raising the third degree of the natural minor scale or lowering the sixth degree of the mixolydian scale. : Melodic major The name ''melodic major'' refers to the combined scale that proceeds as natural major ascending and as Aeolian dominant descending. It is named melodic major because it closes the augmented second in the harmonic major scale by either sharpening the sixth (ascending) or flattening the seventh (descending). : Songs that use the Aeolian dominant scale * '' The Mask of Zorro'' song " I Want to Spend My Lifetime Loving You", was c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Dominant Scale
In music, the acoustic scale, overtone scale, Lydian dominant scale (Lydian 7 scale), or the Mixolydian 4 scale is a seven-note synthetic scale. It is the fourth mode of the ascending melodic minor scale. : This differs from the major scale in having an augmented fourth and a minor seventh scale degree. 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 ov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Augmented Scale
In music, the Lydian augmented scale (Lydian 5 scale) is the third mode of the ascending melodic minor scale. Starting on C, the notes would be as follows: : Generically the whole and half steps are: - W - W - W - W - H - W - H - The scale may be thought of as a major scale with an augmented fourth and fifth, or as the relative to the melodic minor ascending scale (C Lydian augmented and A melodic minor ascending share the same notes). See also *Jazz scale * Lydian chord *Lydian mode The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. : Because of the importance of the major scale in modern m ... Further reading * Coker, Jerry (1997). ''Jerry Coker's Complete Method for Improvisation'', p. 36. . *Hewitt, Michael. 2013. ''Musical Scales of the World''. The Note Tree. . Heptatonic scales Modes (music) {{music theor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian ♭2 Scale
The Dorian 2 scale, also known as the Phrygian 6 scale, is the second mode of the jazz minor scale (or the ascending melodic minor scale). It is on the second degree of the jazz minor scale. Without the minor second above the root, the scale would just be the Dorian mode. The reason it is also known as Phrygian 6 is because if the scale did not have the major 6th then it would be enharmonic with the Phrygian mode. This scale is commonly used in Assyrian music, most especially in the folk dance genre. Thought to add color and to retain the Phrygian tradition of Assyrian music, the major sixth may at times be simultaneously altered to the minor sixth during the course of the composition. Rimmer, Joan, ''Ancient Musical Instruments of Western Asia in the British Museum'', London 1969, p. 39.f.pl.21, 17, 18, 199 See also * Jazz scale A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from European classical music, Western European clas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jazz Minor Scale
The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz, although it may be found in other types of music as well. It may be derived from the major scale with a minor third, making it a synthetic scale, and features a dominant seventh chord on the fifth degree (V) like the harmonic minor scale. It can also be derived from the diatonic Dorian mode with a major seventh. : Thus, the jazz minor scale can be represented by the following notation: :1, 2, 3, 4, 5, 6, 7, 8 The intervals between the notes of the jazz minor scale follow the sequence below: : whole, half, whole, whole, whole, whole, half Jazz theory The scale may be considered to originate in the use of extensions beginning with the seventh in jazz and thus the necessity to, "chromatically raise the diatonic 7th to create a stable, tonic sound," rather than use a minor sev ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jazz Scale
A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from European classical music, Western European classical music, including the diatonic scale, diatonic, whole-tone scale, whole-tone, octatonic scale, octatonic (or diminished), and the Mode (music), modes of the ascending Minor_scale#Melodic_minor_scale, melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Nikolai Rimsky-Korsakov, Rimsky-Korsakov, Claude Debussy, Debussy, Maurice Ravel, Ravel and Igor Stravinsky, Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the eight-note bebop scales, add additional Chromatic passing tone, chromatic passing tones to the familiar seven-note diatonic scales. Theory One important feature of jazz is what theorists call "the principles of Chord-scale system, chord-scale compatibility": the idea that a sequence of chords will generate a sequence ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Locrian Mode
The Locrian mode is the seventh mode of the major scale. It is either a musical mode or simply a diatonic scale. On the piano, it is the scale that starts with B and only uses the white keys from there on up to the next higher B. Its ascending form consists of the key note, then: Half step, whole step, whole step, half step, whole step, whole step, whole step. : History '' Locrian'' is the word used to describe an ancient Greek tribe that inhabited the three regions of Locris. Although the term occurs in several classical authors on music theory, including Cleonides (as an octave species) and Athenaeus (as an obsolete ''harmonia''), there is no warrant for the modern use of Locrian as equivalent to Glarean's hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory through the 18th century, or modern scholarship on ancient Greek musical theory and practice. The name first came into use in modal chant theory after the 18th century, when ''L ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Mode
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the piano, using only the white keys, it is the scale that starts with A and continues to the next A only striking white keys. Its ascending interval form consists of a ''key note, whole step, half step, whole step, whole step, half step, whole step, whole step.'' That means that, in A aeolian (or A minor), a scale would be played beginning in A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A. : History The word ''Aeolian'', like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of Aeolis (), a coastal district of Anatolia. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleoni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
