104 Sentences With "whole step" | Random Sentence Generator

"The ban on VPNs takes this shameful campaign a whole step further," a spokesperson for the organization said in a statement.

Some of them we drop a whole step, some we drop a half step, and some are still in the original keys.

When I get to a point where I got to go more than a whole step down, it's probably time to hang it up.

By rapidly alternating between two adjacent notes—usually a half-step or whole-step apart—composers could create a brief sense of dissonance and tension that clashed with the tonality of the respective piece.

LONDON (Reuters) - German Chancellor Angela Merkel on Tuesday welcomed proposals on Britain's exit from the European Union drawn up by Prime Minister Theresa May's government, saying that they brought the Brexit process "a whole step forward".

"If the Border Patrol, some of their agents, are able to do this step themselves, it cuts one whole step out of the process and speeds us all along toward the tail end of that pipeline," said Cuccinelli.

This piece is also a metaphorical expression of gender; Eastman was known to transgress gender norms in his work, and though this was usually more overt, such as eschewing on occasion a men's suit for a dress during piano performances, he was infinitely capable of subtlety as well: "Femenine" is composed around a whole-step measure, just E♭ to F played on a vibraphone, and the wild, layered instrumentation between those anchoring notes seems to expand the refrain itself as if it were illustrating something much more manifold and mystical.

In measure 34, rather than the vocalists resolving to the tonic through a 4th or a 5th they resolve in sixteenth tones a whole step apart. In measure 52, everyone sings staccato eighth notes and the dissonances are either are primarily a whole step apart, or a 4th and 5th apart.

There are only some melodic lead guitar lines. On the guitar tuning, the band tuned down their instruments a whole step; in D standard.

In CC tubas with five valves, the fifth valve may be tuned as a flat whole step or as a minor third depending on the instrument.

Characteristic trichord of maqam ajam on B flat ‘Ajam (Turkish: Acem) is the name of a maqam (musical mode) in Arabic, Turkish, and related systems of music. Ajam (عجم) in this usage means "Persian." The maqam Ajam is constructed of two Ajam trichords with "whole step-whole step" pitch intervals and spacing similar to the 1-2-3 (or 5-6-7) scale degrees found in an equal-tempered Western major scale (although the Ajam trichord's third scale degree may be tuned just slightly flat of an equal-tempered third). Because most uses of these Ajam trichords place the next (fourth) scale step a halfstep above the last (third) scale step of the Ajam trichord, the result is essentially the same as the "whole step—whole step—half step" tetrachord construction of the Western major scale, and thus the maqam Ajam sounds generally the same as the major scale in Western music ().

In jazz theory, it is called the diminished scale or symmetric diminished scale because it can be conceived as a combination of two interlocking diminished seventh chords, just as the augmented scale can be conceived as a combination of two interlocking augmented triads. The two modes are sometimes referred to as the half-step/whole step diminished scale and the whole step/half-step diminished scale. Because it was associated in the early 20th century with the Dutch composer Willem Pijper, in the Netherlands, it is called the Pijper scale .

A lip trill is a rapid oscillation between neighboring harmonics - used primarily for whole-step trills from second-line G up approximately an octave. Lip trills are possible both lower and higher, but much lower than E and the harmonics are too far apart for a whole step, and much higher and harmonics are too narrow. Many books give fingering charts for lip trills, but the double horn gives further options. In his book "The Horn", Barry Tuckwell also gives a fingering chart of possible 'faux' 1/2 step lip trills.

Double drop D tuning: DADGBD, also known simply as double drop D, is an alternative guitar tuning: E strings are tuned down ("dropped") one whole step (2 frets) to D rather than E as in standard tuning (EADGBE).

In 2006, a version of the song was included on the album Love. The version begins with the acoustic guitar intro from the song "Blackbird" transposed down a whole step to F major from its original key G to transition smoothly into "Yesterday".

The solo is played on an Armenian woodwind instrument, called duduk—a first in pop music history—played by Venezuelan-born world winds specialist and multi-instrumentalist Pedro Eustache. The guitar is tuned down a whole step for the song, providing a unique sound that reflects McCartney's earlier works.

This instrument, is the original B-Bender guitar, built by White and Gene Parsons around 1967, designed to allow the guitarist to manually raise the guitar's 'B' string one whole step to play in a style similar to a pedal steel guitar. Stuart bought this unique guitar in 1980 from White's widow.

This creates a linear pitch space in which an octave spans 12 semitones, where each semitone is the distance between adjacent keys of the piano keyboard. Distance in this space corresponds to musical pitch distance in an equal-tempered scale, 2 semitones being a whole step, and 1 semitone being a half step.

"Red Solo Cup" is about the Solo Cup Company's red style of plastic cups, and their common usage at parties, among other occasions. It is in the key of A major, with a primary chord pattern of A-Bm7-E-A on the verses, which are spoken-word. The final chorus modulates a whole-step upward to B major.

Holes 2, 3, and 4 play a diminished chord; holes 3, 4, and 5 play a minor chord; and holes 4, 5, and 6 play an augmented, for a total of sixteen chords. This pattern is repeated starting on hole 5, a whole step higher; and again starting on hole 9, for a total of 48 chords.

Like his bandmate Hinds, Kelliher also uses three tunings in Mastodon: D Standard on the Les Paul (E Standard down one whole step, D G C F A D), Drop C on the Yamaha SGB (Drop D down one whole step, C G C F A D), and another tuning similar to D standard, but with the sixth string tuned down to A (A G C F A D), on the Explorer. In 2013 Kelliher collaborated with Lace Pickups on his own signature guitar pickups, the “Dissonant Aggressors.” At NAMM 2016 Friedman Amplification launched a signature amp for Kelliher called the Butterslax. In June 2016 ESP Guitars announced that Kelliher had started endorsing their guitars and that they would be releasing 2 signature models for him, the high end ESP Bill Kelliher and the more affordable LTD BK-600.

Bassist Niclas Etelävuori used a five string bass on Circle, which was tuned a whole step down. Regarding the writing and recording process, guitarist Esa Holopainen stated: Koivusaari further explained that the band needed to make a change to the recording process to maintain its inspiration. The band chose a "peaceful place" in the countryside to record, which, Koivusaari felt, led to the distinctive atmosphere.

The song has an extra verse with additional vocals before the bridge. The guitar and bass are tuned down one whole step, resulting in the key position of A being played on the fretboard, but having the pitch as G (octave - D flat) to the listener. It's one of the band's most frequently performed tracks, being featured on every single tour of their career.

Peterson claims that the single is a "pretty spiritual song" and that he wrote the song "about faith and it came out as a country song". It is set at a moderate tempo with a vocal range from D4 to A5. The song begins in the key of G major, and transposes a whole step upward to A major halfway through the final chorus.

Ostrich guitar tuning consists of all strings being tuned to the same note. This method was utilized on the songs "Venus in Furs" and "All Tomorrow's Parties". Often, the guitars were also tuned down a whole step, which produced a lower, fuller sound that Cale considered "sexy". Cale's viola was used on several of the album's songs, notably "Venus in Furs" and "Black Angel's Death Song".

"Creepin'" is a mid-tempo in which the narrator describes the memory of a former lover as being similar to "creepin'". The song is set in the key of C major, mainly accompanied by guitars set in Drop C tuning (i.e., a whole step below drop D tuning). It also features a banjo and an electric guitar, as well as several vocal effects on Church's voice.

Double flats also exist, which look like (similar to two flats, ) and lower a note by two semitones, or a whole step. The Unicode character 𝄫 (U+1D12B) in the Musical Symbols block represents the double-flat sign. Historically, in order to raise a double flat to a simple flat, it was required to use the notation . In modern scores it is acceptable to simply denote this with a single flat .

Mescalero is centered on a variety of Tejano instrumentation including accordion, pedal steel guitar, and harmonica. The album often uses slide guitar and "fuzzy" bass guitar sounds. It opens with "Mescalero", a track with marimbas used throughout the entire song and a solo at the end. "Two Ways to Play" is a hard rock-inspired track in which Gibbons' guitar is tuned down a whole step from standard pitch.

Drop D tuning Drop D tuning is an alternative form of guitar tuning in which the lowest (sixth) string is tuned down from the usual E of standard tuning by one whole step to D. Drop D tuning, as well as other lowered altered tunings, are often used with the electric guitar in heavy metal music. It is also used in blues, country, folk (often with acoustic guitar), and classical guitar.

The chorus line "Tell me why, tell me why/Is it hard to make arrangements with yourself/When you're old enough to repay/but young enough to sell?" is the most famous from the song, typifying the introspective and melancholic nature of not just this song, but the whole album. The guitar is tuned down to D Standard (every string tuned a whole step down from standard tuning).

Townsend mainly uses Open C tuning for both six and seven string guitar. He now also uses Open B tuning and Open B flat tuning (Open C tuning tuned a half and a whole step down respectively) on his six string guitars. Townsend's technique varies from fingerpicking, power chords and polychords to sweep-picked arpeggios and tapping techniques. He is also known for his heavy use of reverb and delay effects.

In a melody, a real sequence is a sequence where the subsequent segments are exact transpositions of the first segment, while a tonal sequence is a sequence where the subsequent segments are diatonic transpositions of the first. The following passage from J.S. Bach demonstrates both kinds of sequence at work: Bach Concerto for Two Violins in D minor first movement bars 22-24J.S. Bach Concerto for Two Violins in D minor, first movement, bars 22-24Note: In the example image above, the annotation "the intervals in the second sequence are the same as in the first" is not entirely correct. The descending pitches in the first segment (G to A), have different intervals than in the second segment (C to D). The difference being in the last three pitches (C, Bb, A versus F, E, D). We have whole-step + half-step intervals in the first, and half-step + whole-step in the second.

Thematically, the song is about "a man still intrigued by his old flame and the transformation that has taken place since their parting." Throughout, the male narrator questions his former lover with "Are your eyes still blue?" The song consists of two verses, a chorus which is sung three times, and a bridge. It begins in the key of F major, then modulates upward by a whole-step at each chorus, ending in B major.

On the live album Rush in Rio, an abridged version of "Cygnus X-1" is performed as an instrumental. The piece consists of the "Prologue" section of the song, without the spoken introduction. The Moog Taurus synthesizer heard in the studio recording is replaced with a choir-like synthesizer sound. On the R40 Live Tour, the Prelude of Book II was played, transposed down by one whole step due to Lee's decreased vocal range.

The song was recorded in April 1966 at Scepter Studios in Manhattan. The music is dominated by the piercing sound of John Cale's electric viola, creating dissonance throughout the song. Also throughout the song are loud bursts of audio feedback, primarily from Cale hissing into the microphone. Reed and Morrison's guitars in the song are downtuned a whole step (as is common with a handful of other songs on The Velvet Underground & Nico).

In music, the subtonic is the flattened seventh scale degree () of the diatonic scale, that is, the lowered or minor seventh degree of the scale, a whole step below the tonic. In the movable do solfège system, the subtonic note is sung as te (or ta). It appears 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.

This type of bouzouki has 8 metal strings, which are arranged in 4 pairs, known as courses, typically tuned C3C4–F3F4–A3A3–D4D4 (i.e., one whole step below the four high strings of a guitar). In the two higher-pitched (treble) courses, the two strings of the pair are tuned to the same note. In the two lower- pitched (bass) courses, the pair consists of a thick wound string and a thin string tuned an octave apart.

A change in Hunter's style away from the organ sound into a more blues and distortion based sound happened at the same time. After removing the 8th string, Hunter retuned all of the strings up a half step: F-A#-D# on the bass and A#-D#-G#-C on the guitar. As of 2008, he had once again retuned up another whole step: G-C-F on the bass and C-F-A#-D on the guitar.

In first species counterpoint, each note in every added part (parts being also referred to as lines or voices) sounds against one note in the cantus firmus. Notes in all parts are sounded simultaneously, and move against each other simultaneously. Since all notes in First species counterpoint are whole notes, rhythmic independence is not available. (archive from 23 October 2018) In the present context, a "step" is a melodic interval of a half or whole step.

An ascending line over the diminished ii chord returns to the initial minor triad. The harmonic structure makes frequent use of the standard ii–V–I progression in the key of D minor. The second 4-bar section featured a chromatic descending line based on the lowering of the tonic (Dm–Dmmaj7–Dm7–Dm6). The same descending line then continues through Gm6–Dm, then finally ending with a whole-step down to the G in the chord Em75.

All- metal alto clarinets also exist. In appearance it strongly resembles the basset horn, but usually differs in three respects: it is pitched a whole step lower, it lacks an extended lower range, and it has a wider bore than many basset horns. Typical basset horn bore is ; typical alto clarinet bore is . A few modern instruments with basset keys have larger bores, but these use alto clarinet mouthpieces, and are properly considered hybrids between the two instruments.

Drop D tuning is the most basic type of "drop 1" tuning, where the 6th string is tuned down a whole step (a tone). A large number of other "drop 1" tunings can be obtained simply by tuning a guitar to drop D tuning and then tuning all strings down some fixed amount. Examples are Drop D, Drop C, Drop B, Drop B, and Drop A tunings. All of these use the same fingerings as for drop D tuning.

The first valve lowers the instrument's pitch by a whole step (two semitones), the second valve by a half step (one semitone), and the third valve by one and a half steps (three semitones). When a fourth valve is present, as with some piccolo trumpets, it usually lowers the pitch a perfect fourth (five semitones). Used singly and in combination these valves make the instrument fully chromatic, i.e., able to play all twelve pitches of classical music.

At the southern end of the court was a platform approached by steps. It has been suggested that this was a platform for the double throne. This fits into the theory proposed by Barry Kemp, and generally accepted by many, that suggests the whole step pyramid complex symbolizes the royal palace enclosure and allows the king to eternally perform the rituals associated with kingship. At the very south of the South Court lay the South Tomb.

Drop B tuning is a heavy metal guitar tuning for a six-string guitar where the strings are tuned to B-F-B-E-G-C (or B-G♭-B-E-A♭-D♭). This is a "drop 1" tuning in the key of C (i.e. tune the whole guitar down a minor third from standard tuning, then the 6th string is lowered an additional whole step down). As a result, it uses the same fingering as all other "drop" tunings.

For example, in the R transformation, a single voice moves by whole step; in the N or S transformation, two voices move by semitone. When common-tone maximization is prioritized, R is more efficient; when voice-leading efficiency is measured by summing the motions of the individual voices, the transformations are equivalently efficient. Early neo- Riemannian theory conflated these two conceptions. More recent work has disentangled them, and measures distance unilaterally by voice-leading proximity independently of common-tone preservation.

D tuning. D Tuning, also called One Step Lower, Whole Step Down, Full Step or D Standard, is an alternate tuning for guitar. Each string is lowered by a whole tone or two semitones resulting in D-G-C-F- A-D. It is used mostly by heavy metal bands to achieve a heavier, deeper sound, by blues guitarists, who use it to accommodate string bending and by 12-string guitar players to reduce the mechanical load on their instrument.

The Fender Nashville B-Bender Telecaster is an American Standard series electric guitar made by Fender Musical Instruments Corporation. This guitar is a Fender Telecaster with the addition of a factory-installed B-string bender device. The device raises the pitch of the second (B) string by one whole step (two frets) to C-sharp. The bend is activated by a one-inch downward pull on the guitar neck, allowing the player to emulate pedal steel sounds and play complex country bends.

Each of the vocal parts resolve on the tonic. Although, sometimes the alto’s resolves on 6th, which gives a minor-third harmony (starting on measure 23). Whenever the lyrics says "flowers," the first syllable is either down a 4th or 5th then leaps up to the tonic on the second syllable. Most of the dissonances in the vocal parts are whole step apart. Then in measure 30 the last syllable of “flowers” ends on a G. And then the song changes.

Tuba with four rotary valves The valves add tubing to the main tube of the instrument, thus lowering its fundamental pitch. The first valve lowers the pitch by a whole step (two semitones), the second valve by a semitone, and the third valve by three semitones. Used in combination, the valve tubing is too short and the resulting pitch tends to be sharp. For example, a BB tuba becomes (in effect) an A tuba when the first valve is depressed.

The song is played in double drop C tuning, which is similar to double drop D; however, the whole guitar is down tuned a whole step first, making the guitar strings C, G, C, F, A, and C. On 4 Way Street, Young says, "Here is a new song, it's guaranteed to bring you right down, it's called 'Don't Let It Bring You Down'. It sorta starts off real slow and then fizzles out altogether." The crowd then roars with laughter.

This convention will be followed for the rest of the article. With the Appalachian dulcimer revival of the 1950s and 1960s players began to favor higher-pitched tunings; this is not uncommon in the history of many stringed instruments, with players often claiming that the higher tunings make their instrument sound "brighter". In consequence, the original traditional tunings migrated up a whole step, and became: D3-A3-A3; D3-A3-D4; and D3-G3-D4, which are the most common modern tunings for three-course Appalachian dulcimers.

A dropped tuning starts with standard tuning and typically lowers the pitch of ("drops") only a single string, almost always the lowest-pitched (E) string on the guitar, though occasionally the A string is lowered. The drop D tuning is common in classical guitar and heavy metal music. The low E string is tuned down one whole step (to D) and the rest of the strings remain in standard tuning. This creates an "open power chord" (three-note fifth) with the low three strings (DAD).

The fingering schema arises from the length of each valve's tubing (a longer tube produces a lower pitch). Valve "1" increases the tubing length enough to lower the pitch by one whole step, valve "2" by one half step, and valve "3" by one and a half steps. This scheme and the nature of the overtone series create the possibility of alternate fingerings for certain notes. For example, third-space "C" can be produced with no valves engaged (standard fingering) or with valves 2–3.

A palm pedal a mechanical device that consists of levers attached to the strings of a guitar or other stringed instrument for the purpose of pulling the strings up in pitch to a preset half-step or whole-step. The palm pedal was invented by Boomer Castleman, an American guitarist and singer-songwriter, who designed the prototype in 1968. Bigsby was the manufacturer of this product in the early 1970s. Pro Palm Pedals, a company in Nashville, has been producing palm pedals since 2009.

Abbott experimented with alternate tunings throughout his career. Early on, his guitar was tuned down more than a quarter step, similar to Van Halen I and Van Halen II tuning. On Cowboys From Hell (1990), he utilized drop D tuning, and beginning with Vulgar Display of Power (1992) he tuned his guitar down a whole step, which became his main tuning by the release of Reinventing the Steel (2000). He also used drop D down one step, down 1 ½ steps and drop D down 1 ½ steps tunings.

These two modes, which are mirror image to each other and are also transpositions of each other, are created by dividing the octave into four equal parts and adding an interval of either half a step or a whole step to each resulting note. As such, they are both symmetric scales and are used in diminished context, albeit in a different manner. They are also the result of superimposing two diminished seventh chords set either half a step or a whole step from each other. The symmetric diminished scale, also known as "half- whole", goes as follows: :1 2 2 3 4 5 6 7 It can be applied to a dominant chord, the root of which can be equally transposed to any note of the diminished seventh chord built on the root. For example, this scale starting on C (C D D E F G A B) can be applied to either C7, A7, F7 or E7. The inverse symmetric diminished scale, also known as "whole-half", goes as follows: :1 2 3 4 5 6 7 ()7 This scale is used as the chord scale for the diminished seventh chord.

A cover of the song by the Bay City Rollers sold a million copies and hit No. 1 on the UK Singles Chart for six weeks from March 1975. It ended the year as the UK's top selling single. The Four Seasons' version is quite sparse in instrumental backing, instead carried by the vocals, while the Bay City Rollers' version is faster and has a fuller backing sound. Played a whole step lower, it includes an eight-bar guitar solo by Eric Faulkner, which is not present in the original.

Drop A tuning. Dropped A tuning is an alternate tuning for a 7 string guitar where the lowest string is tuned down ("dropped") from the standard B by one whole step to A as follows A1-E2-A2-D3-G3-B3-E4. Also, for a 6 string guitar, dropped A tuning is achieved by tuning all strings down a 4th with the lowest string tuned 1 additional step down as follows A1-E2-A2-D3-F#3-B3. This is a "drop 1" tuning in the key of B (i.e.

Self-taught as a guitarist, Llach only strums simple chords on guitar. As a pianist, he shows a good knowledge of the European song tradition from Schubert to Hahn with touches of Satie ("Nounou") and his local imitators like Mompou and Manuel Blancafort ("A la taverna del mar"). Llach has used salsa piano patterns ("Terra") and jazzy whole-step block modulations ("El jorn dels miserables") and progressions ("Cançó d'amor a la llibertat"). Some early songs depicted some inspiration from Baroque dances ("Laura", "Jo sé", "Vinyes verdes vora el mar") and ostinato chord patterns ("Non", "Somniem").

Vierne misquoted the second quarter of the chimes. Instead of jumping up a third from the tonic, dropping down a whole step, and landing on the fifth, Vierne's version moves up in whole steps to the third before moving down to the fifth. Vierne then stays on the fifth, leaps to the second, then third note of the scale and ends on the tonic. There is debate among musicologists as to whether or not this rumor is true, or if Vierne altered the melody to suit his own purpose.

"At the Zoo" was one of Simon & Garfunkel's single releases in 1967. The song is one of Paul Simon's many tributes to his hometown of New York City, and was written for the soundtrack of The Graduate, specifically the scene which takes place at the San Francisco Zoo. However, the song was not used in the film. The song begins with Simon's short lyrical introduction in the key of A Major, but it soon transitions to the key of G Major, being a whole step down from the beginning.

Eventually this slip-slide setup became so popular that it became a factory option. By the early 1960s, the competitive circuits approved the use of a rotary valve tuning slide in place of the standard tuning slide on the soprano. The rotary valve was actuated by the left hand, and featured a length of tubing that lowered the pitch by either a half-step (F#) or a whole-step (F). Corps featured sopranos with both slides to allow for the greatest choice of available notes, however these instruments were still non-chromatic.

Nu metal bands including Deftones and Slipknot went one step further and decided to tune "drop" tuning even lower. By lowering the 6th string one whole step in E tuning to D, they created a heavier and grittier sound. Even lower tunings such as Drop D, Drop C, Drop B, Drop B, and Drop A were also utilized. These tunings are very popular among Alternative metal, metalcore and deathcore acts like Trivium, Emmure, Breaking Benjamin, August Burns Red, and Suicide Silence, where fast chord changes are an essential part of the sound.

It is a simple, clear whistle of two notes, identical in rhythm, the first roughly a whole-step above the second. The range of frequencies at which this song starts from varies; the complete frequency range spans roughly 1 kHz. Within this range, male chickadees can sing at various tones. The average starting frequency is around 4000 Hz. A decrease of roughly 200 Hz occurs when the first note (fee) is sung, and then another decrease around 400 Hz takes place between the end of fee and the beginning of bee.

Festing was a moderately prolific composer producing a number of sonatas, minuets, concertos, chamber music, works for solo instrument, cantatas, vocal songs, catches, and odes. His music is often characterised by sudden and unusual modulations. His frequent use of key changes up or down a whole step and other dramatic modulations have caused several musicologists to compare his music to the Spanish harmonies of Domenico Scarlatti. As a composer, Festing began his career writing in the Baroque style and then later transitioned into the galant style that came to be associated with the early Classical period of music.

David Gilmour used two guitars with the Uni-Vibe guitar effect to create the harmonizing guitar solo for the rest of the song. "Any Colour You Like" is also known (and is even listed on the Dark Side guitar tablature book) as "Breathe (Second Reprise)" because the song shares the same beat (albeit somewhat funkier and uptempo) as the album's second song "Breathe". It has also nearly the same chord sequence just transposed a whole step lower from E minor to D minor. In the original liner notes, songwriting credits contain a typo with Nick Mason's last name listed as Marson.

All Buffalocomotive songs are performed with the guitars tuned down one whole step from standard tuning with some tracks featuring an additional drop D tuning. The group strives to repackage the idiosyncrasies of the eccentric rock genres they emulate into structured melodic songs that are more palatable for the casual music connoisseur. In addition to Black Sabbath and Led Zeppelin, to whom the band is sometimes compared, artists such as Uriah Heep, Dust, Rush, Elf, Jane's Addiction, Life of Agony, Veruca Salt and The Monkees have been cited as influences by members of the band.Buffalocomotive Influences Cited On Their Official Facebook page. facebook.com.

Later versions of the Sky Guitar overcame the problem of the higher register frets becoming too narrow by widening the frets by whole steps for the highest notes. In an April 2001 Guitar Player magazine interview, Roth reports that the guitars are either fretless above the 30th fret or have whole step fret spacing above the 27th fret, with 35 effective (half step) frets. All of the Sky guitars with frets have scalloped fretboards. The Sky guitar's pickups are custom 4-coil humbuckers made by John Oram, with one guitar having an Oram pickup hidden under the 24th fret.

To create interest through contrast, Buffalocomotive utilizes musical shifts in song dynamics, going from quiet to loud and vice versa, often placing gentler material against more aggressive fare. All Buffalocomotive songs are performed with the guitars tuned down one whole step from standard tuning with some tracks featuring an additional drop D tuning. The lyrics of the song "Mint Green" personify paper money as an absolute monarch and use different shades of green, including emerald, forest and mint, as a metaphor for USD. An analogy is drawn between greed and opioid dependence early in the song.

A brief guitar solo can also be found on live versions of "I Can't Make It on Time", in which Johnny plays a descending E minor pentatonic scale, ending it off with a whole step bend. However, the infrequent guitar solos on the group's studio albums were usually overdubbed by Tommy Ramone, Ed Stasium, Daniel Rey, Walter Lure and other uncredited guests.Sharby Coms, "How The West Was Lost", in Mojo Punk Special Edition, p. 94 Most of these small leads were only added in an attempt to give certain songs a more commercial appeal; they were not common on the band's albums.

In Iranian classical music and Iranian light music, the violin ls different tunings in any Dastgah, the violin is likely to be tuned (E–A–E–A) in Dastgah-h Esfahan or in Dastgāh-e Šur is (E–A–D–E) and (E–A–E–E), in Dastgāh-e Māhur is (E–A–D–A). In Arabic classical music, the A and E strings are lowered by a whole step i.e. G–D–G–D. This is to ease playing Arabic maqams, especially those containing quarter tones. While most violins have four strings, there are violins with additional strings.

The addition of valves made it possible to play low in the harmonic series of the instrument and still have a complete selection of notes. Prior to the invention of valves, brass instruments were limited to notes in the harmonic series, and were thus generally played very high with respect to their fundamental pitch. Harmonics starting three octaves above the fundamental pitch are about a whole step apart, making a useful variety of notes possible. The ophicleide used a bowl-shaped brass instrument mouthpiece but employed keys and tone holes similar to those of a modern saxophone.

The second song consists of an initial note, a second a whole step lower, and a third note, repeated two or three times, about a minor third below that. This second song is commonly described by use of mnemonics with the cadence of "Po- or Sam Peabody, Peabody, Peabody" (or "O-oh sweet Canada, Canada, Canada") The rhythm is very regular, and the timbre could be described as pinched. These musical intervals are only approximate; to a human ear the song often sounds out of tune. The repeated note will often change in pitch very slightly, contributing to this effect.

This device raises the B-string (second string) of the guitar a whole step by the use of pulleys and levers attached to both the upper strap knob and the second string on the guitar. It is activated by pushing down on the neck, and produces a "pedal steel" type sound. Arlen Roth, heavily influenced by this style, did not at the time know that White and Parsons had invented a B-bender, so instead developed his own unique all-finger bending version of this technique. This was heavily documented in his ground-breaking book, "Nashville Guitar", all of his recordings, as well as his book "Masters of the Telecaster".

In Renaissance music, the perfect fourth above the bass was considered a dissonance needing immediate resolution. The regola delle terze e seste ("rule of thirds and sixths") required that imperfect consonances should resolve to a perfect one by a half-step progression in one voice and a whole-step progression in another . The viewpoint concerning successions of imperfect consonances—perhaps more concerned by a desire to avoid monotony than by their dissonant or consonant character—has been variable. Anonymous XIII (13th century) allowed two or three, Johannes de Garlandia's Optima introductio (13th–14th century) three, four or more, and Anonymous XI (15th century) four or five successive imperfect consonances.

There are two guitar parts. The basic instrumental track (as reflected on the instrumental version on the My Generation Deluxe edition) followed by Townshend's overdubs including the furious feedback on the coda. Similarly to The Kinks's "You Really Got Me" (also produced by Shel Talmy), the song modulates from its opening key of G up to C via the keys of A and B. Townshend's guitars were tuned down a whole step for the recording. For the band the song was the basis for an extended medley or improvisation, going on as long as fifteen minutes, as evinced by the version appearing on Live at Leeds.

This is the most common way of specifying a note in speech or in written text in English or German. In some European countries H is used instead of B, and B is used instead of B. Western letter pitch notation has the virtue of identifying discrete pitches, but among its disadvantages are its occasional inability to represent pitches or inflections lying outside those theoretically derived, or (leaving aside chordal and tablature notations) representing the relationship between pitches—e.g., it does not indicate the difference between a whole step and a half step, knowledge of which was so critical to Medieval and Renaissance performers and theorists.

The album version of the song is performed as a solo piece by Dylan with his vocal accompanied by an acoustic guitar in the flatpicking style. The guitar is in 'double- dropped D tuning': Both the first and sixth strings, which normally play two Es separated by two octaves, are tuned down a whole step, down to D. Also, Dylan uses a capo on the first fret. Therefore, while his fingers are positioned as if he were playing in the key of D minor, the song is actually in the key of Eb minor. The Times They Are A-Changin' version was recorded on August 7, 1963.

The string "courses", unlike those of a Renaissance lute or archlute, were often single, although double stringing was also used. Typically, theorboes have 14 courses, though some used 15 or even 19 courses (Kapsberger). 15-course Theorbo tuning chart This is theorbo tuning in A. Modern theorbo players usually play 14-course (string) instruments (lowest course is G). Some players have used a theorbo tuned a whole step lower in G. Most of the solo repertoire is in the A tuning. The "re-entrant tuning" created new possibilities for voice leading and inspired a new right hand technique with just thumb, index and middle fingers to arpeggiate chords, which Piccinini likened to the sound of a harp.

In Roger Waters' The Wall concert in Berlin in 1990, he made no speech and sang all the lines alone. He didn't play the bass guitar for this live version. For Waters' worldwide 2010–2013 Wall tour, the song was transposed one whole step down, from D to C. This is commonly done in live performances when a singer has difficulty reaching the highest notes in the song's original key. During the intro of the song, Waters clapped to the beat and in some cases shouted, exhorting the audience to clap along and "have a good time, enjoy yourselves", which might be considered ironic, given the paranoid tone of the actual lyrics.

In contrast, violin family instruments were primarily used for social functions, performed on by professional players.Keep in mind that "professional" at the time was not a mark of elevated status, but the reverse; musicians who played for money were considered a type of servant. During this 'early' period, the largest member of the violin family in common use was a cello-sized instrument, but quite often tuned a whole step lower than the modern cello (B1–F2–C3–G3). This is not to say that there were no larger sized violoni described in the violin family at that time, it's just that descriptions of those larger basses are fewer, and there are many different tunings possible.

Gray's version is one whole step higher than Jones' version, and prompted George to seek him out. The two became friends, Jimmie eventually roading in George's band, on bass and high harmony, and Jimmie was in the studio when George cut his hit. According to the liner notes for the 1994 Sony compilation The Essential George Jones: The Spirit of Country, the throbbing, echoey six-string bass guitar solo was played by Kelso Herston, who went on to write hit songs for Jones and produce one of his later MCA albums. Jones was extremely fond of the tune, recording it again with Musicor, Epic, and as a duet with Travis Tritt for The Bradley Barn Sessions in 1994.

The fledgling Household Name Records label took over and after including Scraper on the "Last House on the Left" compilation, released a full 10-track album, Built With Hate, on 10-inch vinyl. The album is notable that the first 500 were released on blue vinyl and are hand-numbered. All of Scraper's songs were recorded and performed in "D" or in the case of "Leave It and Let It Go" "drop C" tuning (to be technically accurate, dropped D tuned down one whole step), contributing to their trademark sound. The members of Scraper also performed as a covers band, Columbo, playing mainly 1980s punk and new wave covers (usually at breakneck pace), and featured Andy Lane (ex Zodiac Motel, Giant Leap, The Village) on vocals.

Joseph Schillinger suggests that the scale was formulated already by Persian traditional music in the 7th century AD, where it was called "Zar ef Kend", meaning "string of pearls", the idea being that the two different sizes of intervals were like two different sizes of pearls Octatonic scales first occurred in Western music as byproducts of a series of minor-third transpositions. While Nikolai Rimsky- Korsakov claimed he was conscious of the octatonic collection "as a cohesive frame of reference" in his autobiography My Musical Life , instances can be found in music of previous centuries. Eytan locates one in Domenico Scarlatti's Sonata K. 319. In the following passage, according to "its descending whole-step/half-step bass progression is complete and continuous".

This time, the rhythm is stable, and is split into four 4-bar sections which gradually build its vocals. The first section consists of only the couplet "I'm picking up good vibrations/she's giving me the excitation" sung by Mike Love in his bass register; the second repeats the lines and adds an "ooo bop bop" figure, sung in multiple-part harmony; the third time also adds a "good, good, good, good vibrations" in yet a higher harmony. This type of polyphony (counterpoint) is also rare in contemporary popular styles. Each repeat of the vocal lines also transposes up by a whole step, ascending from G to A and then B. It then returns to the verse, thus making a perfect cadence back into E minor.

These two notes are known as achala swar ('fixed notes'). Each of the other five notes, Re, Ga, Ma, Dha and Ni, can take a 'regular' (shuddha) pitch, which is equivalent to its pitch in a standard major scale (thus, shuddha Re, the second degree of the scale, is a whole-step higher than Sa), or an altered pitch, either a half-step above or half-step below the shuddha pitch. Re, Ga, Dha and Ni all have altered partners that are a half-step lower (Komal-"flat") (thus, komal Re is a half-step higher than Sa). Ma has an altered partner that is a half- step higher (teevra-"sharp") (thus, tivra Ma is an augmented fourth above Sa).

However, there is no need for scale steps to be equal within any scale and, particularly as demonstrated by microtonal music, there is no limit to how many notes can be injected within any given musical interval. A measure of the width of each scale step provides a method to classify scales. For instance, in a chromatic scale each scale step represents a semitone interval, while a major scale is defined by the interval pattern W–W–H–W–W–W–H, where W stands for whole step (an interval spanning two semitones: From C to D), and H stands for half-step (From C to C#). Based on their interval patterns, scales are put into categories including diatonic, chromatic, major, minor, and others.

The tonic of any scale is named Sa, and the dominant Pa. Sa is fixed in any scale, and Pa is fixed at a fifth above it (a Pythagorean fifth rather than an equal-tempered fifth). These two notes are known as achala swar ('fixed notes'). Each of the other five notes, Re, Ga, ma, Dha and Ni, can take a 'regular' (shuddha) pitch, which is equivalent to its pitch in a standard major scale (thus, shuddha Re, the second degree of the scale, is a whole-step higher than Sa), or an altered pitch, either a half-step above or half-step below the shuddha pitch. Re, Ga, Dha and Ni all have altered partners that are a half-step lower (Komal-"flat") (thus, komal Re is a half-step higher than Sa).

The samchillian compensates for narrowing or widening of that interval, aka minor or Major 2nds, 3rds, 6ths, and 7ths – as well as flat 5ths or augmented 4ths. For example, the key for ascending 2nds in a diatonic major scale will compensate for distances of half or whole steps. So, in C Major, this key depression will go up a whole step from C to D, D to E, F to G, G to A, A to B, and a half step up from E to F, and B to C. The ascending 5ths key will go up a perfect 5th until it reaches B, where it will go up a flat 5th to the diatonically correct F natural. Similarly, the descending 4ths key will go from B down a diatonically correct 4th to F natural.

The tonal complexity of ratios between these harmonics is said to get more complex with higher prime factors. To limit this tonal complexity, an interval is said to be n-limit when both its numerator and denominator are n-smooth. Furthermore, superparticular ratios are very important in just tuning theory as they represent ratios between adjacent members of the harmonic series. Størmer's theorem allows all possible superparticular ratios in a given limit to be found. For example, in the 3-limit (Pythagorean tuning), the only possible superparticular ratios are 2/1 (the octave), 3/2 (the perfect fifth), 4/3 (the perfect fourth), and 9/8 (the whole step). That is, the only pairs of consecutive integers that have only powers of two and three in their prime factorizations are (1,2), (2,3), (3,4), and (8,9).

Pollack described the scoring as "truly inspired", citing it as an example of "[Lennon & McCartney's] flair for creating stylistic hybrids"; in particular, he praises the "ironic tension drawn between the schmaltzy content of what is played by the quartet and the restrained, spare nature of the medium in which it is played". The tonic key of the song is F major (although, since McCartney tuned his guitar down a whole step, he was playing the chords as if it were in G), where the song begins before veering off into the key of D minor. It is this frequent use of the minor, and the ii-V7 chord progression (Em and A7 chords in this case) leading into it, that gives the song its melancholy aura. The A7 chord is an example of a secondary dominant, specifically a V/vi chord.

Dino Cazares currently endorses Ormsby Guitars, a company based in Perth, Australia. He announced the partnership in January 2019, as well as a line of signature models, two of these being revealed at the 2019 Winter NAMM Show. Cazares' main guitars in Fear Factory were previously custom-made 7-string Ibanez models with Seymour Duncan Blackouts pickups installed, usually detuned a whole step (A,D,G,C,F,A,D; from Obsolete on) to allow for even lower registers. His main guitar in Asesino is an Ibanez prototype 8-string guitar (standard tuning with two extra basses: (F#,B,E,A,D,G,B, E) loaded with 2 Seymour Duncan Blackout 8 active pickups. Before using Ibanez guitars, his main instrument was a black custom shop ESP M 6-string guitar with a single EMG 81 in the bridge, detuned to B tuning.

A Ukrainian minor scale in the key of C would proceed as follows: C D E F G A B. A Ukrainian minor scale in the key of B would proceed as follows: B C D E F G A. Its step pattern is w - h - + - h - w - h - w, where w indicates a whole step, h indicates a half step, and + indicates an augmented second, which looks like a minor third on a keyboard but is notationally distinct. Chords that may be derived from the scale based on B are Bm, C#7, D, E#dim7, F#m, G#m7b5 and Aaug. This scale is obtainable from the harmonic minor scale by starting from the fourth of that scale. Said another way, the B Ukrainian minor scale is the fourth mode of the F# harmonic minor scale.

Both the guitars and the bass are tuned down one whole-step (guitars are tuned to D), to achieve a heavier sound. The drumming is extremely fast, often making use of blast beats and double bass. During their time together, the band toured the UK and Europe extensively with acts such as Nile, Decapitated, Cryptopsy, Vomitory and Pungent Stench, visited the US to play at Maryland Deathfest in 2007, and appeared in an advert for The Sun newspaper, as well as on the soundtrack to two films, namely The Incredibly Strange People Show and Porn of the Dead, a zombie- themed hardcore pornography release. Ben Goreskin and Tim Carley renamed the band The Rotted in 2008 when their new material took on more of a Death metal/Punk vibe and continued to tour and record until splitting in 2014.

It is fairly common for Russian guitar players > (particularly those accompanying themselves singing, such as bards) to bring > the tuning up or down several steps as desired, either to accommodate the > voice or for varying string tension. Vladimir Vysotsky often tuned down a > whole step, sometimes even a step and a half to an open E. Also, variations > in the open G tuning were fairly common, e.g., Bulat Okudzhava would use the > tuning of to play songs written in C, while bard Sergey Nikitin tuned his > guitar to an open G minor: . There are more than 1,000 different chords > possible for the standard open G tuning and plenty of different schools for > left hand (vibrato) and right hand (fingerstyle playing) and enormous > classical music musical transposition archives and music composed for > Russian 7-string guitar for 200 years in Russia.

I–V–VII–IV in A I–V–VII–IV may be viewed as a variation of I–V–vi–IV, replacing the submediant with the subtonic. It consists of two I-V chord progressions, the second a whole step lower (A–E–G–D = I–V in A and I–V in G), giving it harmonic drive. There are few keys in which one may play the progression with open chords on the guitar, so it is often portrayed with barre chords ("Lay Lady Lay"). The use of the flattened seventh may lend this progression a bluesy feel or sound, and the whole tone descent may be reminiscent of the ninth and tenth chords of the twelve bar blues (V-IV). The progression also makes possible a chromatic descent over a contiguous heptachord (minor third): \hat 8–\hat 7–\hat 7–\hat 6.

The fifth and sixth valves also give the musician the ability to trill more smoothly or to use alternative fingerings for ease of playing. This type of tuba is what is most found in orchestras and wind bands around the world. The bass tuba in F is pitched a fifth above the BB tuba and a fourth above the CC tuba, so it needs additional tubing length beyond that provided by four valves to play securely down to a low F as required in much tuba music. The fifth valve is commonly tuned to a flat whole step, so that when used with the fourth valve, it gives an in-tune low B. The sixth valve is commonly tuned as a flat half step, allowing the F tuba to play low G as 1-4-5-6 and low G as 1-2-4-5-6.

German theorbos would also today be called swan-necked Baroque lutes; seventeenth-century German theorbists played single-strung instruments in the Italian tuning transposed down a whole step, but eighteenth-century players switched to double-strung instruments in the “d-minor” tuning used in French and German Baroque lute music so as to not have to rethink their chord shapes when playing theorbo. These instruments came to be referred to as theorbo- lutes. Baron remarks that “the lute, because of its delicacy, serves well in trios or other chamber music with few participants. The theorbo, because of its power, serves best in groups of thirty to forty musicians, as in churches and operas.” Theorbo-lutes would likely have been used alongside Italian theorbos and archlutes in continuo settings due to the presence of Italian musicians in German courts and also for the purpose of using instruments that were appropriate for whatever key the music was in.

Honchoshi "Honchoshi" means "home tuning" or "base tuning," and it is called so because other tunings are considered derivatives of this one tuning. For honchoshi, the first and third strings are tuned an octave apart, while the middle string is tuned to the equivalent of a fourth, in Western terms, from the 1st string. An example of this is D, G, D. Ni Agari "Ni agari" means "raised two" or "raised second," and this refers to the fact that the pitch of the second string is raised (from honchoshi), increasing the interval of the first and second strings to a fifth (conversely decreasing the interval between the second and third strings to a fourth). An example of this is D, A, D. San Sagari "San sagari," which means "lowered three" or "lowered third" refers to tuning the shamisen to honchoshi and lowering the 3rd string (the string with the highest pitch) down a whole step, so that now the instrument is tuned in fourths, e.g.

It was composed specifically for the purpose of allowing the bricklayer roadies more time to finish constructing the wall, to seal off the stage almost completely, before Waters appeared in the last one-brick-wide space in the wall to sing "Goodbye Cruel World", and end the first part of the show. The piece doesn't have a strict composition, varying from venue to venue, but it usually contained themes from "The Happiest Days of Our Lives", "Don't Leave Me Now", "Young Lust", "Empty Spaces" / "What Shall We Do Now?", and occasionally, when the bricklayers were running especially late, a jam (in the jazzier style of the earlier, improv- oriented Floyd) similar to "Any Colour You Like" (D minor to G major), was played. The themes from "Don't Leave Me Now" and "Young Lust" were transposed down a whole step, so, like much of the album, "The Last Few Bricks" is in D minor—which leads to a "brightening" effect, when "Goodbye Cruel World" begins in the parallel key of D major.

The structural importance of each pitch is then dependent on its context, at which level it partitions the octave, the tritone which divides the octave, the minor third which divides the tritone, the major second which divides the major third, the minor second which divides the major second. "This variable relation of the basic motive of Density 21.5 to the harmonic structure of the piece, and its function in articulating and clarifying the formal design, are exactly what we would expect and take for granted in the relation between motive and background in traditional tonal music" (pp. 108–109). Defined by the head motif and its repetition in bar 3, is "characterized by its relative pitch content (a three-note segment of the semitonal scale), by its interval order—down a half step and up a whole step—and by its rhythm (two sixteenth- notes on the beat followed by a tied eighth-note). This definitive version of the motive, combining all three attributes, occurs at only three different points (not counting the repetition in bar 3), each initiating a new and major formal subdivision of the piece" .

See also Golden number. Years 3, 6, 8, 11, 14, 17, and 19 of the Metonic cycle are leap years. To assist in remembering this sequence, some people use the mnemonic Hebrew word GUCHADZaT , where the Hebrew letters gimel-vav-het aleph-dalet- zayin-tet are used as Hebrew numerals equivalent to 3, 6, 8, 1, 4, 7, 9. The keviyah records whether the year is leap or common: פ for peshuta (פשוטה), meaning simple and indicating a common year, and מ indicating a leap year (me'uberet, מעוברת). Another memory aid notes that intervals of the major scale follow the same pattern as do Jewish leap years, with do corresponding to year 19 (or 0): a whole step in the scale corresponds to two common years between consecutive leap years, and a half step to one common year between two leap years. This connection with the major scale is more plain in the context of 19 equal temperament: counting the tonic as 0, the notes of the major scale in 19 equal temperament are numbers 0 (or 19), 3, 6, 8, 11, 14, 17, the same numbers as the leap years in the Hebrew calendar.

Strings within a course are tuned either in unison or in octaves; tuning between courses is in fourths, except between the second and third courses where the interval is a major third. With the instrument held in playing position, the stringing is: devil, devil, 5 (or 4)-string course, 6 (or 5)-string course, 5 (or 4)-string course, 3-string course, 3-string course, devil, devil, and the most common tuning is: F#5 • A4 • (D4) D4 D3 D3 D2 • (G4) G4 G4 G4 G3 G3 • (C4) C4 C4 C3 C2 • E4 E4 E4 • A4 A4 A4 • G4 • B4 Either the fifth course or the third course may sometimes have only four strings, and the fourth course sometimes only has five, depending on the individual instrument design. One common variant of this tuning is to eliminate the middle octaves in the fifth course, thus: F#5 • A4 • (D4) D4 D4 D4 D2 • (G4) G4 G4 G4 G3 G3 • (C4) C4 C4 C3 C2 • E4 E4 E4 • A4 A4 A4 • G4 • B4 The entire instrument is sometimes transposed to accommodate the voice of the singer. For example, all notes in the above "G tuning" may be raised a whole step, to produce an "A tuning".