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C♯ (musical Note)
C (C-sharp) is a musical note lying a chromatic semitone above C and a diatonic semitone below D; it is the second semitone of the solfège. C-sharp is thus enharmonic to D. It is the second semitone in the French solfège and is known there as ''do dièse''. In some European notations, it is known as Cis. In equal temperament it is also enharmonic with B (B-double sharp/Hisis). When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of C4 (the C above middle C) is about 277.183 Hz. See pitch (music) for a discussion of historical variations in frequency. Designation by octave Scales Common scales beginning on C * C major: C D E F G A B C * C natural minor: C D E F G A B C * C harmonic minor: C D E F G A B C * C melodic minor ascending: C D E F G A B C * C melodic minor descending: C B A G F E D C Diatonic scales * C Ionian: C D E F G A B C * C Dorian: C D E F G A B C * C Phrygian: C D E F G A B C * C Lydian: C D E F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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] [Amazon] |
MIDI
Musical Instrument Digital Interface (; MIDI) is an American-Japanese technical standard that describes a communication protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music. A single MIDI cable can carry up to sixteen channels of MIDI data, each of which can be routed to a separate device. Each interaction with a key, button, knob or slider is converted into a MIDI event, which specifies musical instructions, such as a note's pitch, timing and velocity. One common MIDI application is to play a MIDI keyboard or other controller and use it to trigger a digital sound module (which contains synthesized musical sounds) to generate sounds, which the audience hears produced by a keyboard amplifier. MIDI data can be transferred via MIDI or USB cable, or recorded to a sequencer or digital audio workstation to be edited or played back. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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] [Amazon] |
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] [Amazon] |
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] [Amazon] |
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] [Amazon] |
Mixolydian Mode
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek ''harmoniai'' or ''tonoi'', based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode. (The Hypomixolydian mode of medieval music, by contrast, has no modern counterpart.) The modern diatonic mode is the scale forming the basis of both the rising and falling forms of Harikambhoji in Carnatic music, the classical music form of southern India, or Khamaj in Hindustani music, the classical music form of northern India. Greek Mixolydian The idea of a Mixolydian mode comes from the music theory of ancient Greece. The invention of the ancient Greek Mixolydian mode was attributed to Sappho, the poet and musician. However, what the ancient Greeks thought of as Mixolydian is very different from the modern interpretation of the mode. The prefix ''mixo''- (-) means "mixed", referring to its re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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 music, the Lydian mode is often described as the scale that begins on the fourth scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree raised half a step. This sequence of pitches roughly describes the scale underlying the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B but in practice more commonly featuring B. The use of the B as opposed to B would have made such piece in the modern-day F major scale. Ancient Greek Lydian The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek music theory, there was a Lydian scale or " octave species" extending from ''parhypate hypaton'' to ''trite diezeugmenon'', equival ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Phrygian Mode
: The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek ''tonos'' or ''harmonia,'' sometimes called Phrygian, formed on a particular set of octave species or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter. Ancient Greek Phrygian The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the '' Elements'' by Aristoxenos (fl. ), a disciple of Aristotle. The Phrygian ''tonos'' or ''harmonia'' is named after the ancient kingdom of Phrygia in Anatolia. In Greek music theory, the ''harmonia'' given this name was based on a ''tonos'', in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone. : In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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] [Amazon] |
Ionian Mode
The Ionian mode is a Mode (music), musical mode or, in modern usage, a diatonic scale also called the major scale. It is named after the Ionians, Ionian Greeks. It is the name assigned by Heinrich Glarean in 1547 to his new Gregorian mode#Authentic mode, authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting tone/reciting note or ''tenor'') into a fourth species of perfect fifth (tone–tone–semitone–tone) plus a third species of perfect fourth (tone–tone–semitone): C D E F G + G A B C. This octave species is essentially the same as the Major scale, major mode of tonal music. Church music had been explained by theorists as being organised in eight Mode (music), musical modes: the scales on D, E, F, and G in the "greater perfect system" of "musica recta," each with their authentic mode, authentic and plagal mode, plagal counterparts. Glarean's twelfth mode was t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
Diatonic Scale
In music theory a diatonic scale is a heptatonic scale, heptatonic (seven-note) 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. In other words, the half steps are maximally separated from each other. 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 designed so that the white-key notes form a diatonic scale, though transpositions of this diatonic scale require one or more black keys. A diaton ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
