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280 Sentences With "whole tone"

How to use whole tone in a sentence? Find typical usage patterns (collocations)/phrases/context for "whole tone" and check conjugation/comparative form for "whole tone". Mastering all the usages of "whole tone" from sentence examples published by news publications.

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It's about the whole tone, tenor, and behavior of the administration.
Or the whole-tone scale, which divided the octave into equal intervals?
Sensing vulnerability, Kokkinakis pounced and the whole tone of the match shifted.
It was deeply rooted to where his whole tone and composure changed.
The whole tone of this episode just felt off for the show.
The whole tone and texture of Trump's endorsement will have been deeply troubling.
Honestly, I couldn't even tell you what the whole tone was at the time.
"The whole tone of the business changed without her guiding and steadying influence," one former employee said.
"You get a couple pieces of good news and the whole tone changes," the "Mad Money" host said.
"I think that the students influence the whole tone of the conversation here," CEO Gea Sijpkes told SBS Dateline.
Once you state that at the beginning of a job, you set the whole tone for everybody on the film.
"[Angelina] set a whole tone for that kind of role, so I knew we had to do something very different."
The whole tone of the song is very 1989 by way of diva vocals; or, put in shorthand, ACS: Versace-friendly.
A simple falling and rising figure, based on a whole-tone scale, is soon enshrouded with fluid arabesques and radiant sonorities.
The whole tone of the comic is a tense battle between the inherent corniness of Archie and the effortless cool of the Ramones.
And even though Julia was the last one to send me her part, it once again changed the whole tone of the piece.
It is rich in unstable, digressive harmonies—one recurring progression sets F major against C-sharp minor—and clouds of whole-tone tonality.
Darling could not leave it hanging out at the window; it looked so like the washing and lowered the whole tone of the house.
They use complete sentences and big words, and the whole tone is off, like wearing a three-piece suit to a spring-break party.
The Third Symphony is a bigger, brasher work: a brooding brass opening smacks of Wagner, then begins shifting between Dvořákian hoedowns and hazy whole-tone harmonies.
The whole tone of this article is rather gossipy and it's a bit of a hatchet job on a person who sounds not especially nice but so what?
What they found: Between 2002 and 2015, the pitch of blue whales' calls had fallen by "about a whole tone or major second interval in Western music tradition," the press release states.
The result, especially when combined with his use of whole-tone scales, produced a music that felt exceptionally free of the angst and highly charged emotionalism of most of the Romantic repertoire.
"The whole tone of the speech is shrugging off what markets have done, and a reaffirmation that it is the hard data that is more important," said Peter Chatwell, rates strategist at Mizuho.
"When the scientific community got wind of this, they pointed out strongly to NASA all the fantastic science that could be done, and the whole tone of the project was changed," he said.
In the 1980s and '90s, "the whole tone of the country was different," said Thomas Downes, 68, a retired machinist from Cleveland, who has been re-enacting for the Union side for 943 years.
In the 220s and '235s, "the whole tone of the country was different," said Thomas Downes, 246, a retired machinist from Cleveland, who has been re-enacting for the Union side for 38 years.
"Then we painted the center open wall a charcoal gray, to add depth and contrast, and got some great Boffi linear pendants over the island, which changed the whole tone of the kitchen," Ms. DiCarlo said.
A loop of what sounds like a string orchestra, sliding upward through just one whole tone, runs nearly all the way through "Veil Scans"; around it are warped echoes and reflections, clouds of static, deep bass murmurs, distant voices, eerie keenings.
Partially because I'm not sure I'd put myself out there as much as we inadvertently used to and partially because the whole tone of the communications feel like they've shifted to be much more business-like where we keep each other at arm's length.
Since they are symmetrical, whole-tone scales do not give a strong impression of the tonic or tonality. The composer Olivier Messiaen called the whole-tone scale his first mode of limited transposition. The composer and music theorist George Perle calls the whole-tone scale interval cycle 2, or C2. Since there are only two possible whole-tone-scale positions (that is, the whole-tone scale can be transposed only once), it is either C20 or C21.
L'isle Joyeuse begins with a chromatically descending whole tone cadenza.
For this reason, the whole-tone scale is also maximally even and may be considered a generated collection. Due to this symmetry, the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords, whose "individual structural differences can be seen to result only from a difference in the 'location', or placement, of a semitone within the otherwise whole-tone series."Schmalfeldt, Janet (1983).
"The Five" had already been using chromatic harmony and the whole-tone scale before Rimsky-Korsakov composed Sadko.Maes, 83. Glinka had used the whole-tone scale in Ruslan and Lyudmila as the leitmotif of the evil dwarf Chernomor.Maes, 83.
The whole-tone scale was another source of interest for Liszt.Ogdon, 150-51.
The introduction creates a whole tone context. This changes to an A Lydian context which, in bars 15–21, transitions, through the addition of G natural, to the whole tone context of a new motive at bar 21. This A Lydian context serves to transition from the whole tone mode on A to the A major context, inflected by occasional Lydian Ds, of the second theme at bar 67.
Ptolemy substituted a diatonic sequence of seven transpositions pitched either a whole tone or a semitone apart. The entire double-octave scale system was then transposed onto each of these relative pitch levels, requiring (in modern terms) a different key signature in each case, and therefore a different sequence of whole and half steps in the fixed central octave span. The Hypophrygian transposition was the second-lowest of these, a whole tone above the Hypodorian. A whole tone higher was the Hypolydian, followed a semitone higher still by the Dorian, then after another whole tone by the Phrygian, and so on (; ).
The two whole tone scales as a symmetrical partitioning of the chromatic scale;Piston, Walter (1987/1941). Harmony, p.490. 5th edition revised by Devoto, Mark. W. W. Norton, New York/London. . if C=0 then the top stave has even (02468t) and the bottom has odd (13579e) pitches In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone.
In western classical music terminology, this is called a Whole Tone Scale (Rudi Seitz, Jan. 12, 2013).
Claude Debussy, who had been influenced by Russians, along with other impressionist composers made extensive use of whole tone scales. Voiles, the second piece in Debussy's first book of Préludes, is almost entirely within one whole-tone scale.Benward & Saker (2009). Music in Theory and Practice: Volume II, p.246.
The other transposition of the whole tone scale, avoided in the outer sections, is used and provides further harmonic contrast.
1, 6, and 7 from V.A. Rebikov's Празднество (Une fête), Op. 38, from 1907.) H. C. Colles names as the "childhood of the whole-tone scale" the music of Berlioz and Schubert in France and Austria and then Russians Glinka and Dargomyzhsky."The Childhood of the Whole-Tone Scale", p.17-19. H. C. Colles.
The influence of Debussy's La Mer and his opera Pelléas et Mélisande is also noticeable, especially in the use of whole tone scales.
In 12 equal temperament this interval is not tempered out; the septimal whole tone and septimal minor third are replaced by the normal whole tone and minor third. This makes the diesis a semitone, about twice its "correct" size. The septimal diesis is tempered out by a number of equally tempered tuning systems, including 19-ET, 24-ET and 29-ET ; these tunings do not distinguish between the septimal whole tone and septimal minor third. It is not tempered out however by 22-ET or 31-ET (or indeed any equal temperament with at least 30 steps).
A level,van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. . also "tonality level", Gerhard Kubik's "tonal step," "tonal block," and John Blacking's "root progression," is an important melodic and harmonic progression where melodic material shifts between a whole tone above and a whole tone below the tonal center.
The whole tone scale is also anhemitonic. Hungarian minor scale on C, a cohemitonic scale.Kahan, Sylvia (2009). In Search of New Scales, p. 39. .
"Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors", p.161, Journal of Music Theory, Vol. 38, No. 2., pp. 155-186.
It retains the narrow bell-throat and mouthpipe crooks of the orchestral hand horn of the late 18th century, and most often has an "ascending" third valve. This is a whole-tone valve arranged so that with the valve in the "up" position the valve loop is engaged, but when the valve is pressed the loop is cut out, raising the pitch by a whole tone.
The melody, also from 1662, is by Johann Rudolf Ahle, who collaborated with Burmeister on several hymns. He was church musician at Divi Blasii in Mühlhausen, a position Bach later also held. The tune begins with an unusual motif of three upward whole-tone intervals, the first half of a whole- tone scale and also the first three notes of the diatonic Lydian mode.BWV 60.5 bach-chorales.
For example, the chord is a whole tone scale with one note raised a semitone (the "almost whole-tone" hexachord, sometimes identified as "whole tone-plus"), and this alteration allows for a greater variety of resources through transposition."The Evolution of Twelve-Note Music", p.56. Oliver Neighbour. Proceedings of the Royal Musical Association, 81st Sess. (1954–1955), pp. 49–61. Leonid Sabaneev interpreted the Prometheus chord as harmonics 8 through 14, without 12 (1, 9, 5, 11, 13, 7 = C, D, E, F, A, B), but the 11th harmonic is 48.68 cents away from the tritone (F), the 13th harmonic is 59.47 cents away from a major sixth (A).
The whole tone scale is a series of whole tones. It has two non-enharmonically equivalent positions: C D E F G A C and D E F G A B D. It is primarily associated with the French impressionist composer Claude Debussy, who used it in such pieces of his as Voiles and Le vent dans la plaine, both from his first book of piano Préludes. This whole-tone scale has appeared occasionally and sporadically in jazz at least since Bix Beiderbecke's impressionistic piano piece In a Mist. Bop pianist Thelonious Monk often interpolated whole-tone scale flourishes into his improvisations and compositions.
Roth employs major and minor pentatonic, the blues scale, phrygian, harmonic minor, diminished, and the whole tone scale, notably in his famous "Sails Of Charon" solo.
This was a device he adapted from Liszt. In it, semitones alternate with whole tones, and the harmonic functions are comparable to those of the whole- tone scale.
The rāga Sahera in Hindustani classical music uses the same intervals as the whole-tone scale. Ustad Mehdi Hassan has performed this rāga. Gopriya is the corresponding Carnatic rāgam.
Fitinhoff-Schell is also noted for his Fantastic Overture to his opera Mazeppa (1859, libretto by Prince Grigory Kugushev), in which whole-tone scales were profusely employed. Franz Liszt greatly appreciated this piece, describing its effect as " ... terrifying to all long and protruding ears." Liszt himself made use of the whole-tone scale in his Divina Commedia, illustrating the Inferno, and he used it systematically in his posthumously published organ and late piano pieces.
The song is noted for its repeated long section which starts in C major, then goes up a whole tone to D major, then up a whole tone again in E major, and finally in the coda to F-sharp major, before the fade, with the words: "These Eyes/ Are Crying./ These eyes have seen a lot of loves, but they're never going to see another love like I had with you".
Since transposing the mode up a whole tone produces the same set of notes, mode 1 has only 2 transpositions. Any scale having 12 different transpositions is not a mode of limited transposition.
Carl Sigmon writes that, "a declamatory cry dominates the movement- a cry so stark that it must be repeated; there is no answer but itself." Its tone center is G, but with A and C above (a whole tone above G and B): "In this fashion, the incipient whole- tone element of the Quintet is embedded in the global tone-center relations."Swift (1982-1983), p.276. It contains a viola, cello, and violin cadenza in the second, third, and fourth variations, respectively.
Conventional music uses diatonic harmony, the major and minor keys and major and minor scales, as sketched above. Jazz guitarists must be fluent with jazz chords and also with many scales and modes; "of all the forms of music, jazz ... demands the highest level of musicianship—in terms of both theory and technique". Whole-tone scales were used by King Crimson for the title track on its Red album of 1974; whole-tone scales were also used by King Crimson guitarist Robert Fripp on "Fractured".
Some have a semi-tone leading note at the bottom of the instrument, others give a whole tone leading note. Repertoire on both is contiguous with minor adaptations necessitated by the limitations of each particular instrument.
A whole tone scale is often used but that mode tends to be minus the 5 that the Lydian Minor contains. The 5th mode of the Neapolitan major is also known as the major Locrian scale.
Instead, he defines a whole tone as the difference between a perfect fifth and a perfect fourth, and then divides that tone into semitones, third-tones, and quarter tones, to correspond to the diatonic, chromatic, and enharmonic genera, respectively .
Its worth was affirmed by Johann Sebastian Bach who transcribed it for harpsichord (BWV 974). A number of editions have been published, including an edition in C minor because the baroque oboe played a whole tone lower than the modern oboe.
Four- semitone tritone scale/Messiaen's 7th mode Dominant seventh raised ninth vs. dominant seventh split third chord. The four-semitone tritone scale (set 10-6) is a decatonic scale consisting of four semitones, a whole tone, four semitones, and a whole tone (four semitones a tritone apart): 0,1,2,3,4,6,7,8,9,10. This may be related to the seven notes of the diatonic scale as, "1 2 2 3 3 4 5 6 6 7," and thus spelled, on C, as C, D, D, E, E, F, G, A, A, B.Dziuba, Mark (2014). The Ultimate Guitar Scale Bible: 130 Useful Scales for Improvisation, p.48.
Throughout the piece, he uses exotic scale patterns, such as the Lydian and whole tone scales in the first movement; in addition, there is a twelve-tone row in the second movement, which is probably the only one in Bartók's entire oeuvre.
"Secor", TonalSoft.com. Accessed: July 2013 It is approximated in 31 , 41 , and 72 equal temperament . For tuning purposes, a secor of seven steps of 72 equal temperament is often used. Two secors (233.4 ) approximate an 8:7 interval (231.17), a septimal whole tone.
The canon per tonos (endlessly rising canon) pits a variant of the king’s theme against a two- voice canon at the fifth. However, it modulates and finishes one whole tone higher than it started out at. It thus has no final cadence.
The composition studies the whole tone scale intensively, with the exception of a brief six-measure section in the pentatonic scale. The structure of the piece follows a ternary (A–B–A') form. A begins in m. 1; B begins in m.
In the 14th and 15th centuries, used the word "color" to refer to the beauty of the chromatic genus, for the effects of musica ficta, and the division of the whole tone into unequal parts, by which such "imperfect" intervals are "colored" .
Step: major second (major tone) . Minor tone (10:9) . In Western music theory, a major second (sometimes also called whole tone) is a second spanning two semitones (). A second is a musical interval encompassing two adjacent staff positions (see Interval number for more details).
The smallest interval in 31 equal temperament (the "diesis" of 38.71 cents) is half a chromatic semitone, one-third of a diatonic semitone and one-fifth of a whole tone, so it may function as a quarter tone, a fifth-tone or a sixth-tone.
Harmonics higher than the eighth were certainly feasible, but it is unlikely that military musicians would ever have been required to venture above the eighth harmonic.The ranges quoted by Berlioz (1856) imply that some of the saxhorns had compasses that extended as far as the ninth or tenth harmonic, but these upper partials were probably rarely if ever called for. The ninth harmonic is a whole tone above the eighth harmonic, while the tenth harmonic is a whole tone above the ninth. The seventh harmonic was too much out of tune to be lipped; this partial was generally avoided by trumpeters and cornet players after the introduction of valves.
Some early instances of the use of the scale in jazz writing can be found in Bix Beiderbecke's "In a Mist" (1928) and Don Redman’s "Chant of the Weed" (1931). In 1958, Gil Evans recorded an arrangement that gives striking coloration to the "abrupt whole-tone lines" Harrison, Max (1960) "Gil Evans: the Arranger as re-composer", article in Jazz Monthly, February. of Redman's original. Wayne Shorter's composition "JuJu" (1965),Wayne Shorter Jazz Play Along, Milwaukee,Hal Leonard features heavy use of the whole tone scale, and John Coltrane's "One Down, One Up" (1965), is built on two augmented chords arranged in the same simple structure as his earlier tune "Impressions".
The enigmatic scale (scala enigmatica) is an unusual musical scale, with elements of both major and minor scales, as well as the whole-tone scale. It was originally published in a Milan journal as a musical challenge, with an invitation to harmonize it in some way.
One of the most important tools of musical Impressionism was the tensionless harmony. The dissonance of chords were not resolved, but were used as timbres. These chords were often shifted parallel. In the melodic field the whole tone scale, the pentatonic and church tonal turns were used.
The players crouch on a platform on the top of the instrument and alternate playing the keys. The Jegog instrument has the lowest octave of the ensemble. Each pair of pitches are detuned by as much as 7 hertz. In this octave, that is almost a whole tone.
In a middle section, the left hand holds a pedal point in A-flat whole-tone, to which the right hand adds colours. The conclusion is marked "Tempo di cadenza", again with glissando-figures. Sarabande is marked "Avec une élégance grave et lente" (With a slow and solemn elegance).
Berg's Wozzeck: Harmonic Language and Dramatic Design, p.48. . Alexander Scriabin's mystic chord is a primary example, being a whole tone scale with one note raised a semitone; this alteration allows for a greater variety of resources through transposition."The Evolution of Twelve-Note Music", p.56. Oliver Neighbor.
Glinka composing Ruslan and Lyudmila, by Ilya Repin As with A Life for the Tsar, Ruslan employs some aspects of Russian folk music; it is also noted for imaginative use of dissonance, chromaticism, and Eastern elements. Of particular consequence is the use of the whole tone scale for the first time in Russian music. It is particularly associated thematically with Chernomor and, as a result, became so popular among Russian composers for suggesting evil or ominous personages or situations, that even today Russian musicians refer to the whole tone scale as gamma Chernomora, or "Chernomor's scale". The rollicking overture is one of the best known orchestral showpieces in the West and known for being a nightmare for bassists.
Rimsky-Korsakov was open about the influences in his music, telling Vasily Yastrebtsev, "Study Liszt and Balakirev more closely, and you'll see that a great deal in me is not mine".Yastrebtsev, 37. He followed Balakirev in his use of the whole tone scale, treatment of folk songs and musical orientalism and Liszt for harmonic adventurousness. (The violin melody used to portray Scheherazade is very closely related to its counterpart in Balakirev's symphonic poem Tamara, while the Russian Easter Overtures follows the design and plan of Balakirev's Second Overture on Russian Themes.) Nevertheless, while he took Glinka and Liszt as his harmonic models, his use of whole tone and octatonic scales do demonstrate his originality.
Despite his enthusiasm, direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been located in any of Debussy's own compositions. However, the equal-tempered whole tone scale appears in his music of this time and afterward,Neil Sorrell. A Guide to the Gamelan. London: Faber and Faber, 2000.
Music: An Appreciation, Sixth Brief Edition, p.308. . This effect is especially emphasised by the fact that triads built on such scale tones are all augmented triads. Indeed, all six tones of a whole-tone scale can be played simply with two augmented triads whose roots are a major second apart.
Debussy's impressionist works typically "evoke a mood, feeling, atmosphere, or scene" by creating musical images through characteristic motifs, harmony, exotic scales (e.g., whole-tone and pentatonic scales), instrumental timbre, large unresolved chords (e.g., 9ths, 11ths, 13ths), parallel motion, ambiguous tonality, extreme chromaticism, heavy use of the piano pedals, and other elements.
7-limit 8:7 septimal whole tone . In music, a secor is the interval of 116.7 cents () named after George Secor. Secor devised it to allow a close approximation, generated from a single interval, to Harry Partch's 43 tone just intonation scale. All 11-limit consonances are approximated to within 3.32 cents.
The next section starts with a sudden E–C–G chord, as the girl hits the water. Dvořák changes key back to B minor for the water goblin theme, and he speeds up the tempo to a lively allegro vivo, which depicts the swirling waters engulfing the girl, for which Dvořák uses as well the Russian device of a descending whole tone scaleClapham, Dvořák, Musician and Craftsman, p.117This artificial tone scale was considered Mikhail Glinka's brainchild, but recent research shows that Schubert already used this; see Leitmotiv in Russia: Glinka's Use of the Whole-Tone Scale, by Mary S. Woodside © 1990 University of California Press. Dvořák had made extensive studies of Schubert, and even published an article about his music.
Her writing is mainly in a Romantic idiom, often compared to that of Brahms or Rachmaninoff. In her later works she experimented, moving away from tonality, employing whole tone scales and more exotic harmonies and techniques. Beach's compositions include a one-act opera, Cabildo,Fried Block, pp. 274–81 and a variety of other works.
Bridge chord on C . The Bridge chord is a bitonal chord named after its use in the music of composer Frank Bridge (1879–1941). It consists of a minor chord with the major chord a whole tone above (CEG & DFA),Payne, Anthony; Foreman, Lewis; and Bishop, John (1976). The Music of Frank Bridge, p. 42.
Boulez's earliest surviving compositions date from his school days in 1942–43, mostly songs on texts by Baudelaire, Gautier and Rilke.Meïmoun, 15 (note). Gerald Bennett describes the pieces as "modest, delicate and rather anonymous [employing] a certain number of standard elements of French salon music of the time—whole-tone scales, pentatonic scales and polytonality".Bennett, 41.
They may also indicate the influence on Debussy of Satie's 1887 Trois Sarabandes.Taruskin (2010), pp. 70–73. A further improvisation by Debussy during this conversation included a sequence of whole tone harmonies which may have been inspired by the music of Glinka or Rimsky-Korsakov which was becoming known in Paris at this time.Taruskin (2010), p. 71.
Double sharps are indicated by the symbol and raise a note by two semitones, or one whole tone. They should not be confused with a ghost note. Historically, in order to lower a double sharp by one semitone to a sharp, it would be denoted as a . In modern notation the natural sign is often omitted.
This style of musical writing was based on extensive use of the whole tone scale and the octatonic scale to depict supernatural or magical characters and events, hence the term "fantastic".Maes, 83–84. Though he would break from the Belyayev aesthetic in subsequent works, Igor Stravinsky wrote his ballet The Firebird in a similar musical style.Maes, 219.
Maes, 84. Once Rimsky-Korsakov discovered this functional parallel, he used the octatonic scale as an alternative to the whole-tone scale in the musical portrayal of fantastic subjects.Maes, 84. This held true not only for Sadko but later for his symphonic poem Skazka ("The Tale") and the many scenes depicting magical happenings in his fairy-tale operas.Maes, 84.
The septimal diesis (or slendro diesis) is an interval with the ratio of 49:48 , which is the difference between the septimal whole tone and the septimal minor third. It is about 35.70 cents wide. The undecimal diesis is equal to 45:44 or about 38.91 cents, closely approximated by 31 equal temperament's 38.71 cent interval.
Pesce, 241-43. Via Crucis is perhaps the closest Liszt came to creating a new kind of church music through combining a new harmonic language with traditional liturgy. While the overall atmosphere is restrained and devout in feeling, the harmony underpinning the music is experimental, including an extensive use of the whole-tone scale.Searle, "Final", 77-8.
260x260pxThe intervals between the notes of a natural minor scale follow the sequence below: : whole, half, whole, whole, half, whole, whole where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the figure). The natural minor scale is maximally even.
The maqam system is characteristic of, and can be used to classify, all Arabic music. The term maqam has various shades of meaning. On the most basic level, a maqam is a musical scale. A few of these consist of steps of a whole tone and half a tone in the same way as the Western diatonic scale.
Also known as barking, as this is the sound created. Tuning Bead : Northumbrian pipe drones incorporate a tuning bead and/or slide which allows the player to raise the pitch of the drone by a whole tone to play in other keys. Biniaouer : Biniaouer means piper in the Breton language. Binioù : Binioù means bagpipe in the Breton language.
Neapolitan major scale on C The last group of seven-note tone/semitone scales is heptatonia tertia, and consists of scales with two adjacent semitones—which amounts to a whole-tone scale, but with an additional note somewhere in its sequence, e.g., B C D E F G A. One such example is the Neapolitan major scale.
Dorian octave species in the chromatic genus In the chromatic genus, the largest interval was called a , —translated as "incomposite" (or "noncomposite") "trihemitone" (; ; ; , prefers a descriptive translation, "an individed interval of three semitones"; uses "trisemitone"), the modern term being "minor third"—leaving a pyknon of some type of whole tone to be divided into two semitones. There is a larger number of variations in the tuning of the chromatic than in the enharmonic. Up to the beginning of the 4th century BC the chromatic pyknon spanned a major whole tone with a 9:8 ratio, and this was divided by Gaudentius into ascending semitone intervals of 256:243 and 2187:2048 . Ptolemy defined two different tunings of the chromatic genus: the "soft" chromatic with a smaller pyknon and the "intense" chromatic with a larger one.
Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add",Messiaen, Technique de mon langage musical but the modes he did use are all similarly symmetrical. Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there.
According to Ernst the major and minor thirds contain "latent" tendencies towards the perfect fourth and whole tone, respectively, and thus establish tonality. However, Carl contests Kurth's position, holding that this drive is in fact created through or with harmonic function, a root progression in another voice by a whole-tone or fifth, or melodically (monophonically) by the context of the scale. For example, the leading tone of alternating C chord and F minor chords is either the note E leading to F (if F is tonic), or A leading to G (if C is tonic). In works from the 14th- and 15th-century Western tradition, the leading tone is created by the progression from imperfect to perfect consonances, such as a major third to a perfect fifth or minor third to a unison.
Alfred's Basic Bass Scales & Modes/Alfred's Basic Bass Method, p.22/128. /. as may the augmented minor seventh chord, or the Lydian 7 mode,Berle, Annie (1996). Contemporary Theory And Harmony, p.100-101. . as well as most of the modes of the Neapolitan major scale, such as the major Locrian scale, the leading whole-tone scale, and the Lydian minor scale.
Messiaen's first mode, also called the whole-tone scale, is divided into six groups of two notes each. The intervals it contains are tone, tone, tone, tone, tone, tone – it has two transpositions and one mode. File:MOLT 1.png The second mode, also called octatonic/diminished/semitone-tone/tone-semitone, may be divided into four groups of three notes each.
File:Allegro Barbaro Score.jpg The opening melody of Allegro barbaro is largely pentatonic (the first 22 notes of the melody use a cell that consists only of a whole tone and a minor third, the building block of the pentatonic scale). Indeed, the opening melody uses a Phrygian mode subset. Like many of Bartók's compositions, this piece circles around a tonal pitch.
Like other early works of Stravinsky, the Scherzo fantastique follows the 19th-century Russian taste for exoticism. It uses octatonic and whole-tone scales, augmented triads and diminished seventh chords, and more chromaticism than in the composer's earlier works. The rhythm still uses fixed time signatures, and phrases are predominantly four bars long. It avoids rubato, using perpetuum mobile to maintain forward momentum.
French single horn by Jean Baptiste Arban, with three Périnet valves The French horn (when the name is used specifically for a horn type) in modern use is a narrow-bore horn () with three Périnet (piston) valves. It retains the narrow bell-throat and mouthpipe crooks of the orchestral hand horn of the late eighteenth century, and most often has an "ascending" third valve. This is a whole-tone valve arranged so that with the valve in the "up" position the valve loop is engaged, but when the valve is pressed the loop is cut out, raising the pitch by a whole tone. Some early examples had only two valves, and on others the valve section, called the sauterelle, could be removed and replaced by a simple main tuning slide and coupling tubes, allowing the instrument to be played as a natural horn.
The fourth movement is a dialogue between Fear and Christ (vox Christi, sung by a bass), who quotes "Selig sind die Toten" from the Book of Revelation. The cantata closes with a four-part setting of Franz Joachim Burmeister's chorale "". Its melody begins with an unusual whole-tone sequence which inspired Alban Berg in the 20th century to incorporate Bach's setting in his Violin Concerto.
Note that this will play a D minor 7th chord with the open strings. (In the above example, the "la" is the course closest to the floor in normal right-handed convention). The tuning above is re-entrant, so that the "do" of the 5th course is only one whole tone below the "re" course. See the charango for details of this tuning arrangement.
The main melody of this is stated at first in a diatonic manner, but quite surprisingly is elaborated later with more complex harmonic language, which includes intermittent whole-tone inflections and crunchy parallel seventh chords. There is only one contrasting episode and some fluent sections of imitative counterpoint (though not becoming a formal fugato). The impetus is never relaxed, and the movement feels like a moto perpetuo.
"Clarke's retirement was a veritable disaster for the Survey, and his departure lowered the whole tone and scientific status of the department for many a long year." . From 1881 Clarke's involvement with geodesy becomes more and more tenuous. In October 1883 he and Airy were the British delegates at the International Geodetic Conference in Rome, and in 1884 he represented Britain at the International Meridian Conference.
The six timpani are tuned to a whole-tone scale, a quarter tone lower than the piano. Each drum corresponds to one octave in the piano . This oppositional scoring differentiates the piece from its immediate predecessors, Kreuzspiel, Spiel, and Formel. The former two use percussion as a noise element in contrast to pitch, while Formel integrates percussion timbres into the pitch structures of the other instruments .
This work describes an elephant, Jumbo, who came from the French Sudan and lived briefly in the Jardin des plantes in Paris around the time of Debussy's birth. The misspelling "Jimbo" betrays the Parisian accent which often confuses the pronunciation of "um" and "un" with "im" and "in". It is a beautiful lullaby with some dark moments and whole-tone passages in the middle.
The song is written in the key of A minor with a time signature in common time. The pitch is raised almost a quarter of a whole tone from standard pitch, A440 Hz, up to circa A454 Hz. Jackson's vocal range spans from G3 to C5. The track has a tempo of 114 beats per minute. The main bassline is based in the pentatonic blues scale.
The whole-tone scale and the soft dynamics give the A and A' sections a mysterious and eerie mood. In the B section, the louder dynamics, the faster passage, and the more consonant and familiar pentatonic scale give the listener a break from the eerie tone, allowing a brief moment of clarity.Pentatonic scale in Debussy's Voiles, Preludes, Book I, no. 2, mm.43-45.
Septimal diesis on C . In music, septimal diesis (or slendro diesis) is an interval with the ratio of 49:48 , which is the difference between the septimal whole tone and the septimal minor third. It is about 35.7 cents wide, which is narrower than a quarter-tone but wider than the septimal comma. It may also be the ratio 36:35,Haluska, Jan (2003).
Leta E. Miller, Fredric Lieberman (2006). Lou Harrison, p.72. . Although 24 equal temperament does not match this interval particularly well, its nearest representation is at 250 cents, approximately 19 cents sharp. The septimal whole tone may be derived from the harmonic series as the interval between the seventh and eighth harmonics and the term septimal refers to the fact that it utilizes the seventh harmonic.
If the interval was a minor third, about one whole tone from the bottom, genus chromatic. If the interval was a major third with the 4/3 (or a semitone from the bottom), genus enharmonic . In Archytas's case, only the lichanos varies. More generally, depending on the positioning of the interposed tones in the tetrachords, three genera of all seven octave species can be recognized.
In this section, semitone and whole tone may not have their usual 12-EDO meanings, as it discusses how they may be tempered in different ways from their just versions to produce desired relationships. Let the number of steps in a semitone be s, and the number of steps in a tone be t. There is exactly one family of equal temperaments that fixes the semitone to any proper fraction of a whole tone, while keeping the notes in the right order (meaning that, for example, C, D, E, F, and F are in ascending order if they preserve their usual relationships to C). That is, fixing q to a proper fraction in the relationship qt = s also defines a unique family of one equal temperament and its multiples that fulfil this relationship. For example, where k is an integer, 12k-EDO sets q = , and 19k-EDO sets q = .
Impressions (sheet music, 1991) from The Music of John Coltrane, Milwaukee, Hal Leonard However, these are only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. For instance a G7 augmented 5th dominant chord in which G altered scale tones would work before resolving to C7, a tritone substitution chord such as D9 or D711 is often used in which D/G whole tone scale tones will work, the sharpened 11th degree being a G and the flattened 7th being a C, the enharmonic equivalent of B, the major third in the G dominant chord. Art Tatum and Thelonious Monk are two pianists who used the whole-tone scale extensively and creatively.
Scale of yangqin, the numbers indicate the notes in the diatonic scale, 1 = do, 2 = re etc. The yangqin is a chromatic instrument with a range of slightly over four octaves. Middle C is located on the tenor bridge, third course from the bottom. The pitches are arranged so that in general, moving one section away from the player's body corresponds to a transposition of a whole tone upwards.
However, during the bebop era, the rapid tempo and complicated chord progressions made it increasingly harder to play "by ear." Along with other improvisers, such as saxes and piano players, bebop-era jazz guitarists began to improvise over the chord changes using scales (whole tone scale, chromatic scale, etc.) and arpeggios.Jazzology: The Encyclopedia of Jazz Theory for All Musicians, by Robert Rawlins, Nor Eddine Bahha, Barrett Tagliarino. Hal Leonard Corporation, 2005 , .
Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works.
The mezzo-soprano saxophone, sometimes called the F alto saxophone, is an instrument in the saxophone family. It is in the key of F, pitched a whole tone above the alto saxophone. Its size and the sound are similar to the E alto, although the upper register sounds more like a B soprano. Very few mezzo-sopranos exist—they were only produced in 1928 and 1929 by the C.G. Conn company.
The basic notes named according to the solfege system and thus, for example, "Do" is C and "Re" is D. In Turkish music theory, the octave is divided into 53 equal intervals known as commas (koma). Each whole tone is an interval equivalent to nine commas. The following figure gives the comma values of Turkish accidentals. In the context of the Arab maqam, this system is not of equal temperament.
Mozart in his so-called Dissonance Quartet KV 465 (11pxListen) used chromatic and whole tone scales to outline fourths, and the subject of the fugue in the third movement of Beethoven's Piano sonata op. 110 (11pxListen) opens with three ascending fourths. These are all melodic examples, however, and the underlying harmony is built on thirds. Composers started to reassess the quality of the fourth as a consonance rather than a dissonance.
The 64/63 septimal comma (), also known as Archytas' Comma, is the interval equal to the difference between a major and septimal whole tone (with 9/8 and 8/7 ratios, respectively). Alternatively, it can be viewed as the difference between the 16/9 Pythagorean minor seventh (the composition of two 4/3 perfect fourths) and the 7/4 harmonic seventh.Benson, Dave (2006). Music: A Mathematical Offering, p.171. .
D is a musical note a whole tone above C, and is known as Re within the fixed- Do solfege system. An enharmonic note is C, which is a diatonic semitone below D. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of middle D (D4) is approximately 293.665 Hz. See pitch for a discussion of historical variations in frequency.
The second movement, "" (Highly praised Son of God), is a da capo aria for the alto, accompanied by an obbligato oboe da caccia, which was replaced by viola in later performances. Dürr describes the choice of voice and obbligato in the same range as unusual and "of special charme". The opening phrase is illustrated by an upward line, while the mention of falling darkness is interpreted by downward whole-tone steps.
Four steps make a whole tone . Quarter tones and intervals close to them also occur in a number of other equally tempered tuning systems. 22-TET contains an interval of 54.55 cents, slightly wider than a quarter-tone, whereas 53-TET has an interval of 45.28 cents, slightly smaller. 72-TET also has equally tempered quarter-tones, and indeed contains three quarter-tone scales, since 72 is divisible by 24.
The biggest bell serving as bourdon of any carillon is the low C bell at Riverside Church, New York City. Cast in 1929 as part of the Rockefeller Carillon, it weighs and measures across. This is also the largest tuned bell ever cast. Although carillons are by definition chromatic, the next bell up from the bourdon is traditionally a whole tone higher in pitch, leaving a semitone out of the instrument.
The voicing is associated with jazz-rock band Steely Dan. The mu major chord differs from a sus2 chord, as a sus2 chord does not contain a 3rd. "Inversions of the µ major may be formed in the usual manner with one caveat: the voicing of the second and third scale tones, which is the essence of the chord's appeal, should always occur as a whole tone dissonance."Becker and Fagen.
Voiles is a composition by Claude Debussy for solo piano from 1909. It is the second piece in a set of twelve préludes published in 1910. The title of the piece may be translated to English as either veils or sails; both meanings can be connected to the musical structure (see below). Except for some mild, localized chromaticism and a short pentatonic passage, the entire piece uses the whole tone scale.pp.
"'" ("It is enough") is a German Lutheran hymn, with text by Franz Joachim Burmeister, written in 1662. The melody, Zahn No. 7173, was written by Johann Rudolf Ahle who collaborated with the poet. It begins with a sequence of three consecutive rising whole tone intervals. The hymn's last stanza was used by Johann Sebastian Bach as the closing chorale of his cantata O Ewigkeit, du Donnerwort, BWV 60.
Scales can be abstracted from performance or composition. They are also often used precompositionally to guide or limit a composition. Explicit instruction in scales has been part of compositional training for many centuries. One or more scales may be used in a composition, such as in Claude Debussy's L'Isle Joyeuse.. To the right, the first scale is a whole-tone scale, while the second and third scales are diatonic scales.
A soprano clarinet is a clarinet that occupies a higher position, both in pitch and in popularity, than subsequent additions to the family such as the basset horn and bass clarinet. The B clarinet is by far the most common type of clarinet and the unmodified word clarinet usually refers to this instrument. However, due to a tendency for writers and historians to imitate the terms used to denote instruments in other instrumental 'family groups' the term soprano is sometimes used to apply not only to the B clarinet but also to the clarinets in A and C, sounding respectively a semitone lower and a whole tone higher than the B instrument, and even the low G clarinet—rare in Western music but popular in the folk music of Turkey—sounding a whole tone lower than the A. While some writers reserve a separate category of sopranino clarinets for the E and D clarinets,Nicholas Shackleton. "Clarinet", Grove Music Online, ed.
The urgency of musical constructions lacking in tonal centers, or traditional dissonance-consonance relationships, however, can be traced as far back as his Chamber Symphony No. 1, Op. 9 (1906), a work remarkable for its tonal development of whole-tone and quartal harmony, and its initiation of dynamic and unusual ensemble relationships, involving dramatic interruption and unpredictable instrumental allegiances; many of these features would typify the timbre-oriented chamber music aesthetic of the coming century.
He uses a descending whole tone scale in the famous overture. This is associated with the villainous dwarf Chernomor who has abducted Lyudmila, daughter of the Prince of Kiev. There is much Italianate coloratura, and Act 3 contains several routine ballet numbers, but his great achievement in this opera lies in his use of folk melody which becomes thoroughly infused into the musical argument. Much of the borrowed folk material is oriental in origin.
The heckelphone-clarinet is a transposing instrument in B with sounding range of D3 (middle line of bass staff) to C6 (two ledger lines above the treble staff), written a whole tone higher. The instrument is not to be confused with the heckel-clarina, also a very rare conical bore single reed woodwind by Heckel but higher in pitch and made of metal, nor with the heckelphone, a double reed instrument lower in pitch.
A subminor seventh is an interval between a minor seventh and a diminished seventh. An example of such an interval is the 7:4 ratio, the harmonic seventh (B). A supermajor second (or supersecond) is intermediate to a major second and an augmented second. An example of such an interval is the ratio 8:7, or 231.17 cents,, also known as the septimal whole tone (D ) and the inverse of the subminor seventh.
In this sense, he was both a progressive and a conservative composer.Maes, 180. The whole tone and octatonic scales were both considered adventurous in the Western classical tradition, and Rimsky-Korsakov's use of them made his harmonies seem radical. Conversely, his care about how or when in a composition he used these scales made him seem conservative compared with later composers like Igor Stravinsky, though they were often building on Rimsky-Korsakov's work.
10–11 (consisting of two consecutive, chromatically descending figures, the second slightly higher than the first) is very similar to the main motif of Chôros No. 10, but this relationship is skilfully disguised by uniting it with the flute's slower figure . Harmonically, the course of the work is produced by the interaction between diatonic structures on the one hand and more complex pitch collections drawn from the chromatic, whole-tone, and octatonic scales .
Larry Flick from Billboard complimented the singer for "his spiritual side, infusing this atmospheric acoustic soul ballad with uplifting lyrics and a choral climax." He noted that "the whole tone and musical texture of this single are markedly different from anything that Kelly has previously recorded. It's a refreshing change that leaves you anticipating the direction he will take on his next album." Music & Media wrote that the song is "a very well-crafted ballad".
In 1973, he completed a commission from the governmental arts board of Sweden, Rikskonserter, for an a cappella choral work, …a riveder le stelle, in which rhythm is subordinated to allow for maximal exposure of the harmony and melody, using whole-tone and pentatonic as well as diatonic pitch organization.Brolsma, Bruce Edward. The Music of Ingvar Lidholm: A Survey and Analysis. Ph.D. dissertation (Music Theory), Northwestern University, Evanston, Illinois, USA, 1979, p. 89.
The > use of cante jondo, which means deep or profound singing. It is the most > serious and moving variety of flamenco or Spanish gypsy song, often dealing > with themes of death, anguish, or religion. 3. The use of exotic scales also > associated with flamenco music. The Phrygian mode is the most prominent in > Albéniz's music, although he also used the Aeolian and Mixolydian modes as > well as the whole-tone scale. 4.
Tritone drawn in the chromatic circle. A tritone (abbreviation: TT) is traditionally defined as a musical interval composed of three whole tones. As the symbol for whole tone is T, this definition may also be written as follows: : TT = T+T+T Only if the three tones are of the same size (which is not the case for many tuning systems) can this formula be simplified to: : TT = 3T This definition, however, has two different interpretations (broad and strict).
The text is based on a poem of the same title by Walt Whitman.Sea Drift (1903) by Frederick Delius also sets (parts of) this poem, but Coghill was not aware of this when she wrote the piece; see Klein (1996), p. 179. The work is remarkable for its unconventional tenor line (resembling the irregular metre of the poetry), the use of whole-tone scales, and its overall serious expression and emotional drama.Klein (1996), p. 178–185.
Additionally, the loudness and timbre of the four strings is not the same. The fingering positions for a particular interval vary according to the length of the vibrating part of the string. For a violin, the whole tone interval on an open string is about —at the other end of the string, the same interval is less than a third of this size. The equivalent numbers are successively larger for a viola, a cello (violoncello) and a double bass.
Moore was a conservative composer, writing music that was largely Romantic in cast. Some of her songs contain impressionistic qualities, and are reminiscent of Debussy. In later works, such as David Rizzio, Moore made greater use of the whole tone scale, yet her style remained basically tonal until the end of her career. She was violently anti-modernist; supposedly, she once left a performance of an avante-garde piece because it was making her physically ill.
Starting on any degree of the mode gives the same sequence of intervals, and therefore the whole tone scale has only 1 mode. Messiaen's mode 2, or the diminished scale, consists of semitone, tone, semitone, tone, semitone, tone, semitone, tone, which can be arranged only 2 ways, starting with either a tone or a semitone. Therefore mode 2 has two modes. Any scale having the same number of modes as notes is not a mode of limited transposition.
Hendrix played through a Fender Bassman top, providing a "very warm" amp sound with his guitar tuned down a whole tone. Although Hendrix's vocal and guitar are featured, the other musicians make contributions, taking it beyond the blues. McDermott describes Winwood's mid-song organ part as "a very English, hornpipe-like dance that was very Traffic-like". However, Perry calls it a "modal, raga-like phrase", which Hendrix responds to by "improvising a mixed blues/eastern scale".
In 1968, Berio completed O King, a work dedicated to the memory of Martin Luther King Jr. . This movement exists in two versions: one for voice, flute, clarinet, violin, cello and piano, the other for eight voices and orchestra. The orchestral version of O King was, shortly after its completion, integrated into Sinfonia. It uses a fair amount of whole tone scale motives (which also appears in the quote from Le Sacre du Printemps in the third movement).
Monica was asked to respond "yes" if she detected a pitch change on the fourth tone or respond "no" if she could not detect a pitch change. Results showed that Monica could barely detect a pitch change as large as two semitones (whole tone), or half steps. While this pitch-processing deficit is extremely severe, it does not seem to include speech intonation. This is because pitch variations in speech are very coarse compared with those used in music.
42; and A' begins in m. 48. This three-part form is articulated by the dynamic structure: A and A' have only soft dynamics (piano or softer), while B has a wider dynamic from piano to forte. The B section is also set apart by a faster tempo and increased density of notes. Finally, the A and A' sections are characterized by a whole-tone scale, while the B section is characterized by an E-flat minor pentatonic scale.
Following this is a short sequence structurally similar to the "build-up", except the entire chord progression is transposed up a whole tone to match the tonic of the song, C# minor. The end of the instrumental climax leads into the song's third verse, followed by another "chorus". The band plays over two more "chorus" structures, and then a repeated, quiet verse progression serves as the outro of the song. In this section, a "choral"-sounding segment is heard.
Marchetto's innovations are in three areas: tuning, chromaticism, and notation of time-values. He was the first medieval writer to propose dividing the whole tone into more than two parts. A semitone could consist of one, two, three, or four of these parts, depending on whether it was, respectively, a diesis, an enharmonic semitone, a diatonic semitone, or a chromatic semitone. Marchetto preferred to widen major intervals and narrow minor ones for melodic effect, the opposite of what the later meantone temperament does.
It was less popular in the US, only reaching No. 73 on the Billboard Hot 100. A 1992 re-release of the single managed to reach the Top 40 in Germany. Former Genesis member Steve Hackett in interviews said "Mama" was his favourite song from the band after his departure, calling it "beautifully haunting". The song resurfaced in 2007 as part of the Turn It On Again tour, albeit transposed down a whole tone to account for the deepening of Phil Collins' voice.
The Park version is a whole-tone lower than the original. Danilo and Hanna's hummed waltz theme becomes a chorus number, and the ending of the "Rosebud Romance" is sung mostly in unison rather than as a conversation. In the Hassall version, the action of act 3 takes place at Maxim's. Valencienne and the other Embassy wives arrive to seek out Danilo and convince him to return to Hanna, closely followed by their husbands, seeking to achieve the same purpose.
"Together with the other double-basses tuned in fourths, a combination of open strings would be available, which would greatly increase the sonority of the orchestra." However a six-string double bass can be tuned in fifths (C1–G1–D2–A2–E3–B3) which is a much larger range. In classical solo playing the double bass is usually tuned a whole tone higher (F1–B1–E2–A2). This higher tuning is called "solo tuning", whereas the regular tuning is known as "orchestral tuning".
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.
A quarter tone () is a pitch halfway between the usual notes of a chromatic scale or an interval about half as wide (aurally, or logarithmically) as a semitone, which itself is half a whole tone. Quarter tones divide the octave by 50 cents each, and have 24 different pitches. Trumpet with 3 normal valves and a quartering on the extension valve (right) Quarter tone has its roots in the music of the Middle East and more specifically in Persian traditional music.Hormoz Farhat (2004).
These are called -1/4 (lower by one quarter tone), +1/4 (raise by one quarter tone), +1/2 (raise by one semitone), +1 (raise by one whole tone), +3ce (raise by one major third), and +5te (raise by one major fifth. These can be combined to immediately raise the pitch by up to a minor ninth. Martenot produced four speakers, called diffuseurs, for the instrument. The Métallique features a gong instead of a speaker cone, producing a metallic timbre.
Monk's "Four in One" (1948)Four in One from Cardenas, S. and Sickler, D. (eds.) Thelonious Monk Fakebook, Milwaukee, Hal Leonard. and "Trinkle-Tinkle" (1952)"Trinkle-Tinkle" from Cardenas, S. and Sickler, D. (eds.) Thelonious Monk Fakebook, Milwaukee, Hal Leonard. are fine examples of this. A prominent example of the whole-tone scale that made its way into pop music are bars three and four of the opening of Stevie Wonder's 1972 song "You Are the Sunshine of My Life".
Ellie Mannette has developed many instruments of the steel pan family. His use of the whole tone scale on two resonance bodies has become a widely common standard. Mannette developed his own unique skills and style over many years. Within the University Tuning Project at West Virginia University in Morgantown, West Virginia, US, he passed on his knowledge of pan building and tuning to many students, thereby ensuring that his experience is passed on to future generations of pan makers.
During the Swing era, many soloists improvised "by ear" by embellishing the melody with ornaments and passing notes. However, during the bebop era, the rapid tempo and complicated chord progressions made it increasingly harder to play "by ear." Along with other improvisers, such as saxes and guitar players, bebop-era jazz pianists began to improvise over the chord changes using scales (whole tone scale, chromatic scale, etc.) and arpeggios.Jazzology: The Encyclopedia of Jazz Theory for All Musicians, by Robert Rawlins, Nor Eddine Bahha, Barrett Tagliarino.
However, what the ancient Greeks thought of as Mixolydian was very different from the modern interpretation of the mode. In Greek theory, the Mixolydian tonos (the term "mode" is a later Latin term) employs a scale (or "octave species") corresponding to the Greek Hypolydian mode inverted. In its diatonic genus, this is a scale descending from paramese to hypate hypaton. In the diatonic genus, a whole tone (paramese to mese) followed by two conjunct inverted Lydian tetrachords (each being two whole tones followed by a semitone descending).
Ancient Greek music theory distinguishes three genera (singular: genus) of tetrachords. These genera are characterized by the largest of the three intervals of the tetrachord: ;Diatonic :A diatonic tetrachord has a characteristic interval that is less than or equal to half the total interval of the tetrachord (or approximately 249 cents). This characteristic interval is usually slightly smaller (approximately 200 cents), becoming a whole tone. Classically, the diatonic tetrachord consists of two intervals of a tone and one of a semitone, e.g. A–G–F–E.
The first to mention the comma's proportion of 531441:524288 was Euclid, who takes as a basis the whole tone of Pythagorean tuning with the ratio of 9:8, the octave with the ratio of 2:1, and a number A = 262144. He concludes that raising this number by six whole tones yields a value G which is larger than that yielded by raising it by an octave (two times A). He gives G to be 531441.Euclid: Katatome kanonos (lat. Sectio canonis). Engl. transl.
In a 12-note approximately equally divided scale, any interval can be defined in terms of an appropriate number of semitones (e.g. a whole tone or major second is 2 semitones wide, a major third 4 semitones, and a perfect fifth 7 semitones. In music theory, a distinction is made between a diatonic semitone, or minor second (an interval encompassing two different staff positions, e.g. from C to D) and a chromatic semitone or augmented unison (an interval between two notes at the same staff position, e.g.
The layout is similar to that of a keyboard: each major scale has its own fingering pattern, and basic chords fall into pattern shapes or groupings. The advantage of this layout is that it provides a familiar concept (diatonic and accidentals) to the harpist and is easier to learn, owing to the presence of the diatonic "home row" of strings. A less common string configuration is the "6x6" in which each set of strings is tuned to a whole-tone scale (rather than diatonic and 'accidental' tuning).
Of the characteristic "slip note" style, Cramer commented, "The style I use mainly is a whole-tone slur which gives more of a lonesome cowboy sound. You hit a note and slide almost simultaneously to another." The origin of the style is uncertain. It seems to have first emerged at the 1960 session for Hank Locklin's hit "Please Help Me, I'm Falling", when Cramer was asked by Chet Atkins to copy the unusual piano styling of songwriter Don Robertson, who had played on the demo.
The Symphony for Organ and Orchestra established Copland as a serious modern composer. Musicologist Gayle Murchison cites Copland's use melodic, harmonic and rhythmic elements endemic in jazz, which he would also use in his Music for the Theater and Piano Concerto to evoke an essentially "American" sound. he fuses these qualities with modernist elements such as octatonic and whole-tone scales, polyrhythmic ostinato figures, and dissonant counterpoint. Murchinson points out the influence of Igor Stravinsky in the work's nervous, driving rhythms and some of its harmonic language.
Then he left the traditional way of dividing the string into two, three, four, five, six, seven and eight equal parts, and, using a razor to stop the string, divided the fourth string of his violin between G and A into sixteen parts. He could produce sixteen clearly different sounds within a whole tone. From then on, he immersed himself in the study of the physical and mathematical basis of music. In 1899, General Porfirio Díaz, President of Mexico, heard Carrillo as a violinist.
6 In this set of sonatas, he used prominent characteristics of early 20th century music, such as whole tone scales, dissonances, and quarter tones. Ysaÿe also employed virtuoso bow and left hand techniques throughout, for he believed that "at the present day the tools of violin mastery, of expression, technique, mechanism, are far more necessary than in days gone by. In fact they are indispensable, if the spirit is to express itself without restraint."Martens, Frederick H. Violin Mastery – Talks with Master Violinists and /teachers.
Rejected ideas from the latter work and earlier sketches joined the material Elgar began developing in late 1910 to complete the piece.Kent, pp 41–43. The symphony's thematic material, like much of Elgar's work, consists of short, closely interrelated motives which he develops via repetition, sequential techniques, and subtle cross references. Harmonically, the piece often borders on tonal ambiguity, with the composer employing musical devices such as chromaticism and, in the third movement, a whole tone scale in order to heighten the feeling of tonal uncertainty.
The octaves are each composed of two like tetrachords (1–1–½) connected by one common tone, the Synaphe. At the position of the Paramese, the continuation of the system encounters a boundary (at b-flat, b). To retain the logic of the internal divisions of the tetrachords (see below for more detail) so that meson would not consist of three whole tone steps (b-a-g-f), an interstitial note, the diazeuxis ('dividing') was introduced between Paramése and Mese. The tetrachord diezeugmenon is the 'divided'.
The melodies in simple folk songs and traditional songs may use only the notes of a single scale, the scale associated with the tonic note or key of a given song. For example, a folk song in the key of C (also referred to as C major) may have a melody that uses only the notes of the C major scale (the individual notes C, D, E, F, G, A, B and C; these are the "white notes" on a piano keyboard. On the other hand, Bebop-era jazz from the 1940s and contemporary music from the 20th and 21st centuries may use melodies with many chromatic notes (i.e., notes in addition to the notes of the major scale; on a piano, a chromatic scale would include all the notes on the keyboard, including the "white notes" and "black notes" and unusual scales, such as the whole tone scale (a whole tone scale in the key of C would contain the notes C, D, E, F, G and A). A low, deep musical line played by bass instruments such as double bass, electric bass or tuba is called a bassline.
Its size is 27.264 cents, slightly larger than the Pythagorean comma. The composition of the septimal comma and the syntonic comma is 36/35, known as the septimal diesis. Its size is 48.8 cents, making it practically a quarter tone. The septimal diesis appears as the difference between many septimal intervals and their 5-limit counterparts: the minor seventh (9/5) and the seventh harmonic (7/4), the 8/7 septimal whole tone and the 10/9 minor whole tone, the 7/6 septimal minor third and the 6/5 minor third, the 9/7 septimal major third and the 5/4 major third, and many more. Other septimal commas include 49/48 (occasionally called the slendro diesis) (), which commonly appears as the difference between a ratio with 7 in the denominator and another with 7 in the numerator, like 8/7 and 7/6; and 50/49, called the tritonic diesis, because it is the difference between the two septimal tritones, 7/5 and 10/7, or Erlich's decatonic comma, because it plays an important role in the ten-tone scales of Paul Erlich (the intervals are tempered so that 50/49 vanishes).
Bernstein begins the foray into atonality with Debussy's Prélude à l'après-midi d'un faune. This work uses a whole-tone scale, which is atonal but entails sufficient unambiguous containment, according to Bernstein. In his analysis, Bernstein commends the use of atonality in Afternoon of a Faun partially because of the presence of tonality. Bernstein notes, "throughout its course it is constantly referring to, reverting to, or flirting with E major" and "the ending of this piece finally confirms that it was all conceived in the key of E major, right from the beginning" (p. 245).
See: Mystic chord. Prometheus scale on C, whole tone scale with one degree altered chromatically . For example, if a composer uses a synthetic scale as the basis for a passage of music and constructs chords from its tones, in much the same way that a tonal composer may use a major or minor scale's notes to build harmonies, then the resulting chords may be synthetic chords and referred to as such. Some synthetic chords may be analyzed as traditional chords, including the Prometheus chord, which may be analyzed as an altered dominant chord.
The same applies to Em, Am, and Dm. The minor chord shape is easier to play with the left hand, while major chords are easier to play with the right hand. There is a row for every possible musical interval, not just fifths, fourths, and octaves but also whole tones, minor thirds, etc. The Array system can be thought of not only as being based on the circle of fifths, but as being based on rows of whole tones. Each whole-tone row is separated by a fifth/fourth.
Britten modulated between A-Lydian and E-Lydian for alternating verses; he did so by altering the Lydian modes into whole-tone-collections, raising the fourth scale degree (as is customary for Lydian) but also raising the fifth scale degree to travel from one mode to the other. The harmonies supporting the modal melodies are tonal and fairly straightforward. At the moment that Nicolas becomes a man, Britten colours the melody's supporting harmonies in a much more dissonant manner, using a semitone clash to darken the simple refrain.
The septimal sixth tone, also called the jubilisma, is a 7-limit musical interval approximately the size of 1/6 of a whole tone (203.91/6=33.99 cents). An interval with the ratio of 50:49 (), about 34.98 cents, which in just intonation is the difference between the lesser septimal (7:5) tritone, and its inversion, the greater septimal tritone (10:7). This interval is tempered out by 12-TET and 22-TET, but not by 19-TET, 31-TET or any other odd division of the octave.
Consider the intervals of the major scale: tone, tone, semitone, tone, tone, tone, semitone. Starting the scale on a different degree will always create a new mode with individual interval layouts—for example starting on the second degree of a major scale gives the "Dorian mode"—tone, semitone, tone, tone, tone, semitone, tone. This is not so of the modes of limited transposition, which can be modally shifted only a limited number of times. For example, mode 1, the whole tone scale, contains the intervals tone, tone, tone, tone, tone, tone.
The C melody saxophone is a saxophone pitched in the key of C, one whole tone above the B-flat tenor saxophone. In the UK it is sometimes referred to as a "C tenor", and in France as a "tenor en ut". The C melody was part of the series of saxophones pitched in C and F intended by the instrument's inventor, Adolphe Sax, for orchestral use. The instrument enjoyed popularity in the early 1900s, perhaps most prominently used by Rudy Wiedoeft and Frankie Trumbauer, but is now uncommon.
In the Hysteria episode of the Classic Albums documentary series, Elliott said he thought he heard the phrase "love is like a bomb" on Lange's tape "and that set the whole tone for the lyric." By the spring of 1988, Hysteria had sold 3 million copies, not enough to cover the album's $5 million production costs. Thus, the band edited footage from an upcoming concert film to make a new promo clip for "Pour Some Sugar on Me" and finally released it as the fourth single in North America.
Notice that in these tuning systems, a third kind of whole tone, even wider than the major tone, exists. This interval of two semitones, with ratio 256:225, is simply called the diminished third (for further details, see Five-limit tuning#Size of intervals). Comparison, in cents, of intervals at or near a major second Some equal temperaments also produce major seconds of two different sizes, called greater and lesser tones (or major and minor tones). For instance, this is true for 15-ET, 22-ET, 34-ET, 41-ET, 53-ET, and 72-ET.
Conversely, in twelve-tone equal temperament, Pythagorean tuning, and meantone temperament (including 19-ET and 31-ET) all major seconds have the same size, so there cannot be a distinction between a greater and a lesser tone. In any system where there is only one size of major second, the terms greater and lesser tone (or major and minor tone) are rarely used with a different meaning. Namely, they are used to indicate the two distinct kinds of whole tone, more commonly and more appropriately called major second (M2) and diminished third (d3).
In older theory texts this form is sometimes referred to as a "trill-tremolo" (see trill). :# A rapid, repeated alteration of volume (as on an electronic instrument); :# vibrato: an inaccurate usage, since vibrato is actually a slight undulation in a sustained pitch, rather than a repetition of the pitch, or variation in volume (see vibrato). ; tresillo (Sp.): A duple-pulse rhythmic cell in Cuban and other Latin American music ; trill : A rapid, usually unmeasured alternation between two harmonically adjacent notes (e.g. an interval of a semitone or a whole tone).
A set of reed-sounded silver pipes discovered in Ur was the likely predecessor of modern bagpipes. The cylindrical pipes feature three side-holes that allowed players to produce whole tone scales. These excavations, carried out by Leonard Woolley in the 1920s, uncovered non-degradable fragments of instruments and the voids left by the degraded segments that, together, have been used to reconstruct them. The graves these instruments were buried in have been carbon dated to between 2600 and 2500 BC, providing evidence that these instruments were used in Sumeria by this time.
According to the system of Aristoxenus and his followers—Cleonides, Bacchius, Gaudentius, Alypius, Bryennius, and Aristides Quintilianus —the paradigmatic tetrachord was bounded by the fixed tones hypate and mese, which are a perfect fourth apart and do not vary from one genus to another. Between these are two movable notes, called parhypate and lichanos. The upper tone, lichanos, can vary over the range of a whole tone, whereas the lower note, parhypate, is restricted to the span of a quarter tone. However, their variation in position must always be proportional.
The Dorian octave species begins with this tetrachord, which is followed by a whole tone and another tetrachord to complete the octave with a pattern of ¼, ¼, 2, 1, ¼, ¼, and 2 tones. This pattern is rotated downward one degree for the Hypolydian, and one more for the Hypophrygian, for an octave species of 2, 1, ¼, ¼, 2, ¼, and ¼ tones . The name was appropriated by Ptolemy of Alexandria for one of his seven tonoi, or transposition keys. Ptolemy's system differed from the earlier Aristoxenian model, which had thirteen transpositional levels each a semitone from its neighbours.
Unlike much of his music of the period, it avoids a dark mood, but Fauré had by now moved on from the uncomplicated charm of the first three of the set. His mature style is displayed in the central section, a contemplative andante, which is followed by a more agitated section that concludes the work. ;Impromptu No 5 in F minor, Op. 102 (1909) Nectoux describes this impromptu as "a piece of sheer virtuosity celebrating, not without humour, the beauties of the whole-tone scale." Morrison, however, writes that the work "seethes with unrest".
In music and music theory, a hexatonic scale is a scale with six pitches or notes per octave. Famous examples include the whole tone scale, C D E F G A C; the augmented scale, C D E G A B C; the Prometheus scale, C D E F A B C; and the blues scale, C E F G G B C. A hexatonic scale can also be formed by stacking perfect fifths. This results in a diatonic scale with one note removed (for example, A C D E F G).
The tetrachord markers found on the bridges of most hammered dulcimers in the English-speaking world were introduced by the American player and maker Sam Rizzetta in the 1960s. In the Alps there are also chromatic dulcimers with crossed strings, which are in a whole tone distance in every row. This chromatic Salzburger hackbrett was developed in the mid 1930s from the diatonic hammered dulcimer by Tobi Reizer and his son along with Franz Peyer and Heinrich Bandzauner. In the postwar period it was one of the instruments taught in state-sponsored music schools.
Much of the source material is from Guido of Arezzo, Boethius, Odo of Cluny, Isidore of Seville, and Hermannus Contractus. After chapters on 'litterae' (letter notation), monochord, nine 'consonant' intervals (unison, semitone, whole tone, ditone, semiditone, diatessaron, diapente, semitone-plus-diapente, whole-tone-plus-diapente), the Perfect System (systema teleion) of Greeks, musical modes (including a chapter on their ethos), and the composition of chant, the treatise includes one chapter most of interest to contemporary scholars: a detailed description of how to compose organum. Most of his examples are note-against-note, and demonstrate how to end on a fifth or an octave by good voice-leading; he emphasizes the importance of contrary motion, a practice which differed from the parallel organum of the preceding centuries (though it probably reflected a current practice; in the absence of many surviving 11th-century manuscripts it is difficult to date when the switch from mostly parallel to mostly contrary motion occurred). One short passage in De musica which has attracted much attention is his description of organum sung with several notes in the organal voice versus one note in the underlying chant, one of the earliest examples of polyphony escaping from the straitjacket of single note against single note.
In diatonic harmony, the dominant seventh flat five chord does not naturally occur on any scale degree (as does, for example, the dominant seventh chord on the fifth scale degree of the major scale e.g. C7 in F major). In classical harmony, the chord is rarely seen spelled as a seventh chord and is instead most commonly found as the enharmonically equivalent French sixth chord. In jazz harmony, the dominant seventh flat five may be considered an altered chord, created by lowering the fifth of a dominant seventh chord, and may use the whole-tone scale,Manus and Hall (2008).
"A prominent element in the whole-tone scale...its symmetry with respect to the octave gives it a special role in twelve-tone music as well." In classical music, the tritone is a harmonic and melodic dissonance and is important in the study of musical harmony. The tritone can be used to avoid traditional tonality: "Any tendency for a tonality to emerge may be avoided by introducing a note three whole tones distant from the key note of that tonality." The tritone found in the dominant seventh chord can also drive the piece of music towards resolution with its tonic.
It is not possible to decompose a diminished fifth into three adjacent whole tones. The reason is that a whole tone is a major second, and according to a rule explained elsewhere, the composition of three seconds is always a fourth (for instance, an A4). To obtain a fifth (for instance, a d5), it is necessary to add another second. For instance, using the notes of the C major scale, the diminished fifth B–F can be decomposed into the four adjacent intervals : B–C (minor second), C–D (major second), D–E (major second), and E–F (minor second).
Hubay composed four violin concertos and a very large number of encore pieces. His concertos incorporate themes from Hungarian gypsy music, and his "gentle breeze" pieces, which share features of the compositional style of his chamber music partner, David Popper, continue the tradition of the German romantics such as Felix Mendelssohn and Robert Schumann. Hubay's output also contains several operas, including The Venus of Milo, The Violin-Maker of Cremona, The Mask and Anna Karenina (after Leo Tolstoy). The opening of The Venus of Milo is based on whole tone scales and archaisms that perhaps are meant to suggest the ancient setting.
Like the first movement, it is largely dependent on ostinatos, but in place of pentatonic melodies its thematic material utilizes the whole-tone scale. The third, slow movement, transforms the leitmotif into something resembling the theme of the piano piece Lenda do caboclo. The finale restates motives from all of the preceding parts, especially the main subject of the first movement, to produce a cyclic formal closure. However, despite this motivic cross-referencing, Villa-Lobos does not take advantage of the possibilities this offers for the kind of rich thematic development found in the Viennese classical masters .
Critics and commentators have generally acknowledged that A Handful of Dust stands apart from Waugh's other prewar fiction. Philip Toynbee describes it as a turning point in Waugh's journey from outright satire to disillusioned realism: "Much of this book is in the old manner, funny- preposterous laced with funny-bitter, but the whole tone and atmosphere are violently changed when the little boy is killed". Likewise Gerald Gould in The Observer, reviewing the book's initial publication in 1934: "Here was the old gorgeous, careless note of contempt and disillusionment. Gradually, implacably, the note changes and deepens".
His children's music is the most notable of all his works. He continued the Russian penchant for the whole tone scale, using it in the piece Les demons s'amusent, included into the melomimic suite Les Rêves (Dreams, 1899). He used new advanced harmony such as seventh and ninth chords, unresolved cadences, polytonality, and harmony based upon open fourths and fifths. He also was experimenting with novel forms, for instance, in his piano pieces, Mélomimiques Op. 10 (1898), and Rythmodéclamations in which music and mime are combined, and he introduced a type of musical pantomime known as "melo-mimic" and "rhythm-declamation" (see melodeclamation).
Roberts, New Grove (1980), 12:454. One point in Tchaikovsky's favor was "a flair for harmony" that "astonished" Rudolph Kündinger, Tchaikovsky's music tutor during his time at the School of Jurisprudence.As quoted in Polyansky, Eyes, 18. Added to what he learned at the Saint Petersburg Conservatory studies, this talent allowed Tchaikovsky to employ a varied range of harmony in his music, from the Western harmonic and textural practices of his first two string quartets to the use of the whole tone scale in the center of the finale of the Second Symphony, a practice more typically used by The Five.
This method allows the length of the bamboo to be modified for minute adjustment to its fundamental pitch. On traditional dizi the finger-holes are spaced approximately equidistant, which produces a temperament of mixed whole-tone and three-quarter-tone intervals. Zheng also repositioned the figure-holes to change the notes produced. During the middle of the 20th century dizi makers further changed the finger hole placements to allow for playing in equal temperament, as demanded by new musical developments and compositions, although the traditional dizi continue to be used for purposes such as kunqu accompaniment.
He names this transpositional class the seven-tone impure major second scale, and notes that the various modes of the major Locrian can all be defined as the whole tone scale with one additional note, and where that note occurs does not affect the transpositional class. He also notes that the scale has the property that every three-note chord possible in the twelve tone chromatic scale already appears in the major Locrian. Examples are given of the use of this scale by Claude Debussy in his opera Pelléas et Mélisande and Alban Berg in his song "Nacht".
Although the five notes of the slendro set are closest in pitch to a pentatonic scale, this scale would have been familiar from other folk sources, as it is a common scale worldwide. It is the equally tempered whole-tone scale that is more analogous of the slendro scale. and a Javanese gamelan-like heterophonic texture is emulated on occasion, particularly in "Pagodes", from Estampes (solo piano, 1903), in which the great gong's cyclic punctuation is symbolized by a prominent perfect fifth. The composer Erik Satie, an influential contemporary of Debussy, also heard the Javanese gamelan play at the Paris Exposition of 1889.
The work is dominated by a six-note chord, spread out over five octaves. It contains five of the six-notes that make up an octave of the whole-tone scale, with the note C repeated high in the strings at the top. The missing note, B flat, becomes the focus of a tonal tug of war that begins later on in the symphony against the key of C, which is the tonal flavour of what may be referred to as The Chord. It begins the symphony, seemingly motionless and set at a barely audible ppp in the strings.
The fork had sliding weights, an adjustment knob, and a dial to show the position of the weights. These weights permitted setting it to different reference frequencies (such as A4 = 435 Hz), although over a relatively narrow range, perhaps a whole tone. When set at A4 = 440 Hz the tuning fork produced a 55 Hz signal, which drove the four-pole 1650 RPM synchronous motor to which the A disc was mounted. (The other discs were all gear-driven off of this one.) Incoming audio was amplified to feed a long neon tube common to all 12 discs.
Despite the inclusion of other fractions of a whole tone, this music continued to be described under the heading "Vierteltonmusik" until at least the 1990s, for example in the twelfth edition of the Riemann Musiklexikon , and in the second edition of the popular Brockhaus Riemann Musiklexikon . Ivan Wyschnegradsky used the term ultra-chromatic for intervals smaller than the semitone and infra-chromatic for intervals larger than the semitone ; this same term has been used since 1934 by ethnomusicologist Victor Belaiev (Belyaev) in his studies of Azerbaijan and Turkish traditional music (; ). A similar term, subchromatic, has been used recently by theorist Marek Žabka . Ivor Darreg proposed (where and when?) the term xenharmonic.
43 and 115. In the example below featuring C7#11 and C lydian dominant every note of the scale may be considered a chord tone while in the example above featuring A7 and A mixolydian the scale is thought of as a 'filling in' of the steps that are missing between members of the chord. Students now typically learn as many as twenty-one scales, which may be compared with the four scales commonly used in jazz in the 1940s (major, minor, mixolydian, and blues) and the two later added by bebop (diminished and whole-tone) to the tonal resources of jazz.Cooke & Horn (2003), p.123.
La garganta del diablo The Poema is in four movements: # Las selvas dialogan con las cataratas (The Forests Converse with the Falls) # Barcarola del Iguazú (Barcarole of the Iguazú) # La luna ilumina las cascadas: Nocturno (The Moon Illuminates the Falls: Nocturne) # La garganta del diablo (The Devil's Throat) (The Devil's Throat is the long and narrow chasm containing the highest and deepest of the falls.) The work belongs to Williams's late phase, in which he expanded his Franckian harmonic vocabulary with a whole range devices from French Impressionism: parallel harmonies and consecutive fifths, pedal points, successions of unresolved seconds, superimposed tonalities, and, especially, episodes featuring whole-tone scales .
The citations represent the ballet's primary thematic material that ensures coherency of its musical content. The motives are treated in a symphonic manner whereas the symphonic development serves the dramatics of the plot: the motivical transformation is tightly connected with the plot and the shifts demonstrate characters’ psychological ordeals and characterize dramatic tensions. In terms of harmony, while there are some bolder instances within the realm of romanticist expression, Hristić mostly operates with simple devices. His harmonic language encompasses modality, specific scalar structures such as the Balkan scale (minor), whole-tone scale (utilized strictly in melodic lines), and Phrygian mode-mixture, to the typical late romanticist expanded tonality.
Lee himself wrote a negative review of the show in Time Out in which he described himself as "fat" and his performance as "positively Neanderthal, suggesting a jungle-dwelling pygmy, struggling to coax notes out of a clarinet that has fallen from a passing aircraft". The Guardian described it as "the kind of TV that makes you feel like you're not the only one wondering how we came to be surrounded by so much unquestioned mediocrity". One of the show's few negative reviews came in the Sunday Mercury, which stated: "His whole tone is one of complete, smug condescension". Lee used the line to advertise his next stand-up tour.
Mi Shebeirach means "He who blessed" in Hebrew, from the Mi Shebeirach prayer, recited after the honor of being called to the Torah reading. It is also called the Ukrainian, Altered Ukrainian, Doina, or Altered Dorian. It is similar to the natural minor scale, but has raised fourth and sixth scale degrees, and is used often for the doina or dance pieces, like the Odessa Bulgar. When used in combination with the Ahavoh Rabboh scale in the same piece (as in Mayn Shtetl Yas), the Mi Shebeirach section is usually a whole tone below the Ahavoh Rabboh scale (for example, D Ahavoh Rabboh changes to C Mi Shebeirach or vice versa).
117Briscoe, James R. "Debussy Studies", Notes December 1998, pp. 395–397 Roger Nichols writes that "if one omits Schoenberg [...] a list of 20th-century composers influenced by Debussy is practically a list of 20th-century composers tout court." Bartók first encountered Debussy's music in 1907 and later said that "Debussy's great service to music was to reawaken among all musicians an awareness of harmony and its possibilities".Moreux p. 92 Not only Debussy's use of whole-tone scales, but also his style of word-setting in Pelléas et Mélisande, were the subject of study by Leoš Janáček while he was writing his 1921 opera Káťa Kabanová.
The Symphony for Organ and Orchestra established Copland as a serious modern composer. Musicologist Gayle Murchison posits that his use of the octatonic and whole-tone scales, polyrhythmic ostinato figures, and dissonant counterpoint proves his mastery of the modernist harmonic, rhythmic, and melodic techniques of the 1920s. The work shows much influence of Copland's hero Igor Stravinsky such as its nervous, driving rhythms and some of its harmonic language, but it also draws significantly and consciously from jazz - Copland's birthright - as in its playful interpretation of triple meter in the scherzo movement. For a decade Copland would continue to draw from jazz in his quest to evoke an essentially "American" sound.
The authentic modes were the odd-numbered modes 1, 3, 5, 7, and this distinction was extended to the Aeolian and Ionian modes when they were added to the original eight Gregorian modes in 1547 by Glareanus in his Dodecachordon . The final of an authentic mode is the tonic, though the range of modes 1, 2, and 7 may occasionally descend one step further. This added degree is called the "subfinal" which, since it lies a whole tone below the final, is also the "subtonium" of the mode. The range of mode 5 (Lydian) does not employ a subfinal, and so always maintains F as its lower limit .
Even in Guido of Arezzo's treatise Micrologus, at least in earlier copies, there is still a passage which explains, how the diesis can be found on the monochord. It sharpens the semitonium by replacing the usual whole tone (9:8) between re—mi (D—E, G—a, or a—b) by an even larger one in the proportion of 7:6 which was usually perceived as an attraction towards fa.See Guido of Arezzo's Micrologus in the edition by Martin Gerbert (1784, p. 11). But there were as well other practices which could not be explained by the Boethian diagram and its use of tonus and semitonium.
Turtle Talk starts the album and is the "opening act" for Dee Barton as a composer and new trombonist for the Kenton Orchestra. Barton would later take the drum chair on the Kenton band showing the multi-talents he brought to the table for this group and later studio work he would do. Both Turtle Talk and Waltz of the Prophets use the same harmonic pallet of relying on augmented chords and whole tone scales. Waltz of the Prophets had been recorded a couple of years earlier by the University of North Texas One O'Clock Lab Band and was Barton's resume material to write for the Kenton group.
Valved diatonics are made by fitting windsavers on draw holes 1–6 and blow holes 7–10; this way, all reeds can be bent down a semitone at least, although most players can easily bend down a whole tone. Alternatively, one can simply buy a factory- made valved diatonic such as the Suzuki Promaster Valved. The disadvantage of the valved diatonic is that it does not require one to develop proper embouchure in order to bend the notes accurately. Also, many of the notes reached by bending are nearer just intonation, and the slightly lower equal tempered pitches preferred by western classical music are unattainable.
The speech's veracity was accepted by the historian J. E. Neale in an article, 'The Sayings of Queen Elizabeth': "I see no serious reason for rejecting the speech. ... some of the phrases have every appearance of being the Queen's, and the whole tone of the speech is surely very much in keeping even with the few Elizabethan quotations that I have had room for in this article. ... I have little doubt that Sharp's version is a copy, at two or three removes, of a speech actually written by Elizabeth herself".J. E. Neale, Essays in Elizabethan History (London: Jonathan Cape, 1958), pp. 105–106.
The majority of his work is triadic and contains simple, repeated progressions, or in some cases pandiatonicism. Often extended tertian harmonies are followed by whole tone harmonies (such as in the first movement of Symphony No. 5; or the first movement of his "Cyber Bird" Concerto for alto saxophone, which, in addition, makes use of free atonal jazz; or the final movement of his "Orion Machine" Concerto; or in his Saxophone Concerto "Albireo Mode"). His works for Japanese traditional instruments (such as Subaru, and Within Dreams, Without Dreams) make use of traditional Japanese scales and tunings. He has published some essays and primers about classical music.
Some of the motives are diatonic, some are pentatonic, others use the whole-tone scale, while the opening section uses all twelve tones of the chromatic scale . The middle section (b. 165–214) creates a strong contrast with what went before (and will come after) by turning to a tranquil mood and exclusively A-minor pentatonic material. This persistence of a single tonality is uncharacteristic for Revueltas's music, and may occur here in order to project more plainly the calmness of the Indian aspect of the work by avoiding complex rhythmic and tonal configurations, in contrast to the mestizo elements of the two outer sections .
A typical solo range for this voice was C3 to D5 considering that French eighteenth-century pitch was as much as a whole tone lower than that of today. Though this high-pitched range might lead one to think of the haute-contre as a light voice, historical evidence does not bear this out: Jélyotte was much praised for the strength of his high register,Cyr, op. cit., p 292 the astronomer and traveller Joseph Jérôme Lefrançois de Lalande commenting that "one takes more pleasure in hearing a large voice than a small one." Lalande stated that Jélyotte's range was identical to that of the famous tenor Angelo Amorevoli.
Major Locrian on C . In music, the major Locrian scale, also called the Locrian major scale, is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G A B. It can be described as a whole tone scale extending from G to E, with F introduced within the diminished third interval from E to G. The scale therefore shares with the Locrian mode the property of having a diminished fifth above the tonic. It can also be the natural minor scale or Aeolian mode with raised third and lowered fifth intervals.
A diminished seventh chord consists of three superposed minor thirds, and thus has all successive notes a minor third apart; it contains two diminished fifths. In jazz theory, a diminished seventh chord has four available tensions, each a major ninth above the chord tones, and thus forming a diminished seventh chord a whole tone (or major ninth) above the root chord. Because any chord tone of the diminished seventh can be heard as the root, the tensions are not numbered as ninth, eleventh and so on. The usual notation is Cdim7 or C°7, but some lead sheets or popular music books may omit the 7.
At this point, the band plays a rapid descending whole tone scale starting in the highest voices and ending in the lowest. # The fourth variation, marked Sostenuto, is much slower and is in 3/2 time with a rhythmic ostinato played by the timpani on a G♭2 (bottom line of the bass clef) using "hard sticks on muted head" to create a hint of ethnic drum sound. The theme is played by the woodwinds, and then the brass join in with a series of chords. # The fifth and final variation, marked Con Islancio ("with impetuousness"), is faster and begins with a long solo in the percussion section.
For example, transposition from the key of C major to D major raises all pitches of the scale of C major equally by a whole tone. Since the interval relationships remain unchanged, transposition may be unnoticed by a listener, however other qualities may change noticeably because transposition changes the relationship of the overall pitch range compared to the range of the instruments or voices that perform the music. This often affects the music's overall sound, as well as having technical implications for the performers. The interrelationship of the keys most commonly used in Western tonal music is conveniently shown by the circle of fifths.
The new writing system is not as graphic as the conventional staff or stave, and instead of calling the notes by a letter or a syllable (Do, Re, Mi, etc.) they are represented by a number. The numbering system starts with a zero and increments by one until the last note of the octave is reached. Within this system, the number of notes in an octave is dependent on the number of intervals that one wishes to create within a whole tone. From Carrillo's "Teoría Lógica de la Música" (Logical Theory of the Music) Converting current notes (above) to the new notation system (below).
Example of bending on electric guitar whole tone on electric guitar Radial pitch-shifting (also referred to as "string bending" or "bending") is produced by moving the stopped (held-down) string with the fretting hand in a direction perpendicular to its axis and parallel to the frets. This type of pitch-shifting is associated with blues, rock, country and pop music. The effect generally shifts the pitch over a wider range than axial pitch-shifting. It can produce vibrato as a cyclic variation in pitch, a single up-and-down swoop, or as a shift from one pitch to another that is then held.
The prelude is in binary form, which was one of the most common forms that Debussy composed in. The A section lasts from bars 1–15, followed by the B part in measures 16–31 and finally a coda in the last five bars. Although the prelude stays in its home key and does not modulate, it goes on to explore all twelve semitones in the octave throughout the piece. It also makes use of different modes, specifically the A scale in Mixolydian and Dorian modes, as well as the whole tone scale in C. Its texture consists of three layers that remains unbroken for almost all of the prelude.
Characteristic trichord of maqam sigah, on E half-flat Segah (or Sigah; Persian: سه‌گاه) is the name of a Dastgah (musical mode) in Persian and related systems of music. Segah (From Persian se-gāh, سه + گاه = سه‌گاه "third place") is named because the maqam starts on the third degree in relation to the "basic" Turko-Arabic scale found in Rast. Sigah features a half-flat tonic and a half-flat fifth scale degree; as such, it has an unstable sound that tends to favor its own third degree, found on a whole tone. Middle eastern Sephardic Jews make heavy use of this in their liturgy.
Nobutoki taught him music theory in the German tradition. In 1931 he began studies with Meiro Sugahara, who believed that German music was not a good model for Japanese composers who wanted to compose in Western style with Japanese sensibility, on the principles of Gagaku, Buddhist music and Kabuki music. He considered French, Italian and Russian music more appropriate for the Japanese mentality, because it offers more flexible sounds by using Whole tone and Japanese scales. Sugahara gave the advice to Sugata that composers such as Shiro Fukai were better than the works of Claude Debussy, Maurice Ravel, Igor Stravinsky, Ottorino Respighi and Darius Milhaud to study.
The two main traditions of Indian classical music are Carnatic music, which is practised predominantly in the peninsular (southern) regions, and Hindustani music, which is found in the northern, eastern and central regions. The basic concepts of this music includes shruti (microtones), swaras (notes), alankar (ornamentations), raga (melodies improvised from basic grammars), and tala (rhythmic patterns used in percussion). Its tonal system divides the octave into 22 segments called Shrutis, not all equal but each roughly equal to a quarter of a whole tone of the Western music. Sangeet Natak Academy recognizes eight classical dance and music forms, namely Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam.
Hephaestus' dialogue with Kratos is set to music containing "impressionist allusions to the whole-tone scale". Fauré was known for his soft, genteel chamber music and the "hateful fury" of the music behind Kratos and Bia's dialogue stunned audiences. A character named Kratos appears in the God of War video game franchise, in which he is portrayed as what classical scholar Sylwia Chmielewski calls "a deeply tragic, Herculean anti-hero who, after murdering his family, has to wash away the miasma to regain his peace of mind." The video game character Kratos was given his name at a late stage in the development of the original 2005 game, after the character had already been fleshed out.
Vuorinen performing live with Nightwish at Norway Rock Festival in 2009 Vuorinen used a Washburn N4 Nuno Bettencourt signature guitar for live performances with Nightwish from 1997–1999. Subsequently, he was most commonly seen with Washburn CS-780 guitars (a white one and metallic purple one). He mostly used the white CS-780 until the recording of Century Child when the band started tuning a whole tone lower than standard (DGCFAD instead of EADGBE). The documentary on the End of Innocence DVD shows Vuorinen using his purple CS-780 to track parts of the song "Slaying the Dreamer" (although he is also seen trying a white Tokai Les Paul copy on the same part of the song).
For instance, the seven 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 thereof, is a diatonic scale. Modern musical keyboards are designed so that the white notes form a diatonic scale, though transpositions of this diatonic scale require one or more black keys. A diatonic scale can be also described as two tetrachords separated by a whole tone. The term diatonic originally referred to the diatonic genus, one of the three genera of the ancient Greeks.
Additionally, it also makes the semitone exactly half a whole tone, the simplest possible relationship. These are some of the reasons why 12-EDO has become the most commonly used equal temperament. (Another reason is that 12-EDO is the smallest equal temperament to closely approximate 5-limit harmony, the next-smallest being 19-EDO.) Each choice of fraction q for the relationship results in exactly one equal temperament family, but the converse is not true: 47-EDO has two different semitones, where one is tone and the other is , which are not complements of each other like in 19-EDO ( and ). Taking each semitone results in a different choice of perfect fifth.
Quote: "During the Soviet period, Russian obikhod-style choral polyphony all but eradicated the received chant traditions of Georgia, Armenia, and Carpatho-Russia, but currently there is a trend to revive the Znamenny, Iberian, and Ruthenian chant ..." Pyotr Ilyich Tchaikovsky drew from the Obikhod style for his 1812 Overture, as did Nikolai Rimsky-Korsakov in his Russian Easter Festival Overture. Anatoly Lyadov also drew from them in his Ten Arrangements from Obikhod Op.61, as did Alexander Raskatov in his Obikhod (2002). The pitch set used in these chants traditionally consists of four three-note groups. Each note within a group is separated by a whole tone, and each group is separated by a semitone.
Holdsworth was known for his highly advanced knowledge of music theory, through which he incorporated a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used a myriad of scale forms often derived from those such as the lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes.
Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes. In addition, the opera was novel for its time in its use of dissonance and whole-tone scales.
He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree". Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity.Irving Fisher, Prohibition at Its Worst (New York: Macmillan, 1926); Prohibition Still at Its Worst (New York: Alcohol Information Committee, 1928); The Noble Experiment (New York: Alcohol Information Committee, 1930).
When taking into account Defense Department complaints that the U.S. atomic arsenal and the air power to use it were starkly inadequate, it became clear that the U.S. lacked a credible military deterrent in Europe. The Czech coup changed the whole tone of the debate on the U.S. military budget. It helped spark a new round of Pentagon lobbying for a substantial rise in the military budget, while the NSC called for "a worldwide counter-offensive" against the Soviet bloc, including U.S. military aid to the Western European Union. Truman responded to the crisis with a grim nationwide radio address on 17 March calling for a renewal of selective service, which had been allowed to lapse the previous year.
There is much that is peculiar to the Testament or characteristic of it. First and foremost is its ascription to the Jesus himself, which we can hardly be mistaken in regarding as an attempt to claim yet higher sanction than was claimed by the various compilations which were styled "apostolic", the so-called Church Orders. The whole tone of the Testamentum is one of highly-strung asceticism, and the regulations are such as point by their severity to a small and strictly organized body. They are "the wise", " the perfect", "sons of light"; but this somewhat Gnostic phraseology is not accompanied with any signs of Gnostic doctrine, and the work as a whole is orthodox in tone.
There are elements of both in this song. Underlining the text ‘The earth holds you fast in her darkness,’ the accompaniment illustrates the darkness and depth of the grave with low descending octaves in the left hand as the right hand exhibits a series of non-functional chords that obscure the light with chromatics filling in every crack. Then, there is specific text painting, when the melody exhibits a descending whole tone scale, depicting ‘from your depths,’ then rises at ‘you shall rise as Spring’s most beautiful flower!” Finally, there is a cadence in D major, the key of optimism, symbolizing the emergence of Spring from Winter, or, the emergence of life from death.
Claude Monet, Water Lilies, 1916, The National Museum of Western Art, Tokyo Musical Impressionism is the name given to a movement in European classical music that arose in the late 19th century and continued into the middle of the 20th century. Originating in France, musical Impressionism is characterized by suggestion and atmosphere, and eschews the emotional excesses of the Romantic era. Impressionist composers favoured short forms such as the nocturne, arabesque, and prelude, and often explored uncommon scales such as the whole tone scale. Perhaps the most notable innovations of Impressionist composers were the introduction of major 7th chords and the extension of chord structures in 3rds to five- and six-part harmonies.
Recent analysts have found it a link between traditional continuity and thematic growth within a score and the desire to create discontinuity in a way mirrored in later 20th century music.Pasler, Jann. "Debussy, Jeux: Playing with Time and Form", 19th-Century Music, Summer 1982, pp. 60–75 Goubault, Christian. "Jeux. Poème dansé by Claude Debussy", Revue de Musicologie, No 1, 1990, pp. 133–134 (in French) In this piece, Debussy abandoned the whole-tone scale he had often favoured previously in favour of the octatonic scale with what the Debussy scholar François Lesure describes as its tonal ambiguities. Among the late piano works are two books of Préludes (1909–10, 1911–13), short pieces that depict a wide range of subjects.
Following Schoenberg's advice, Berg decided to publish the finished movement and let it stand by itself. Although the piece has the nominal key of B minor, Berg makes frequent use of chromaticism, whole-tone scales, and wandering key centers, giving the tonality a very unstable feel, which only resolves in the final few bars. The structure of the piece is traditional sonata form, with an exposition, development and recapitulation; however, the composition also relies heavily on Arnold Schoenberg's idea of "developing variation", a method to ensure the unity of a piece of music by deriving all aspects of a composition from a single idea. In this case, much of the composition can be traced back to the two opening gestures.
As is normal with Mozart's later quartets, it is in four movements: # Adagio-Allegro # Andante cantabile in F major # Menuetto. Allegro. (C major, trio in C minor) # Allegro molto The first movement opens with ominous quiet Cs in the cello, joined successively by the viola (on A moving to a G), the second violin (on E), and the first violin (on A), thus creating the "dissonance" itself and narrowly avoiding a greater one. This lack of harmony and fixed key continues throughout the slow introduction before resolving into the bright C major of the Allegro section of the first movement, which is in sonata form. Start of first movement Mozart goes on (11px Listen) to use chromatic and whole tone scales to outline fourths.
Orwell > comes back time and time again in his writings on Spain to those political > conditions in the late thirties which fostered intellectual dishonesty: the > subservience of the intellectuals of the European Left to the Communist > 'line', especially in the case of the Popular Front in Spain where, in his > view, the party line could not conceivably be supported by an honest man. > Only a few strong souls, Victor Serge and Orwell among them, could summon up > the courage to fight the whole tone of the literary establishment and the > influence of Communists within it. Arthur Koestler quoted to an audience of > Communist sympathizers Thomas Mann's phrase, 'In the long run a harmful > truth is better than a useful lie'. The non-Communists applauded; the > Communists and their sympathizers remained icily silent.
Clarence White (born Clarence Joseph LeBlanc; June 7, 1944 – July 15, 1973), was an American bluegrass and country guitarist and singer. He is best known as a member of the bluegrass ensemble the Kentucky Colonels and the rock band the Byrds, as well as for being a pioneer of the musical genre of country rock during the late 1960s. White also worked extensively as a session musician, appearing on recordings by the Everly Brothers, Joe Cocker, Ricky Nelson, Pat Boone, the Monkees, Randy Newman, Gene Clark, Linda Ronstadt, Arlo Guthrie, and Jackson Browne among others. Together with frequent collaborator Gene Parsons, he invented the B-Bender, a guitar accessory that enables a player to mechanically bend the B-string up a whole tone and emulate the sound of a pedal steel guitar.
Covington was originally brought in as showrunner after Charmed was picked up to series, in order to help executive producers Jessica O'Toole and Amy Rardin, neither of whom had run a show before. Following the change in showrunners, media outlets reported that the second season would lean harder into the supernatural storylines, with less focus on the family dynamics that Covington helped make. However, ahead of the season two premiere, Kruger stated in an interview with TV Insider that the core of the show and "the heart of the story is still about the power of sisterhood and how powerful women can change the world." Shapiro also told TV Insider that they changed the whole tone and visual look of the show to become more "darker, moodier, edgier" and "more cinematic" than the previous season.
The letters written from St. Anna to the princes and cities of Italy, to warm well-wishers, and to men of the highest reputation in the world of art and learning, form the most valuable source of information, not only on his then condition, but also on his temperament at large. It is singular that he spoke always respectfully, even affectionately, of the Duke. Some critics have attempted to make it appear that he was hypocritically kissing the hand which had chastised him, with the view of being released from prison, but no one who has impartially considered the whole tone and tenor of his epistles will adopt this opinion. What emerges clearly from them is that he labored under a serious mental disease, and that he was conscious of it.
Early reception of the "Haydn" Quartets was both enthusiastic and disgruntled. An anonymous early reviewer, writing in Cramer's Magazin der Musik in 1789, gave a judgment characteristic of reaction to Mozart's music at the time, namely that the works were inspired, but too complex and difficult to enjoy: > Mozart's works do not in general please quite so much [as those of Kozeluch] > ... [Mozart's] six quartets for violins, viola, and bass dedicated to Haydn > confirm ... that he has a decided leaning towards the difficult and the > unusual. But then, what great and elevated ideas he has too, testifying to a > bold spirit!Quoted in Deutsch (1965, 349) Giuseppe Sarti later published an attack against the "Dissonance" quartet, describing sections as "barbarous", "execrable", and "miserable" in its use of whole-tone clusters and chromatic extremes.
The bass clarinet version, originally titled Akkorde (Chords), was the first to be composed, as a birthday gift for Suzanne Stephens (Stockhausen 2007c). The flute and trumpet versions were made by transposing the entire work up by a whole tone, with numerous adjustments to fit the range and character of the instruments, as well as a few small additions. While the bass clarinet and flute versions are purely instrumental, in the trumpet version the player speaks three words between the four introductory notes: "Lob sei Gott" ("May God be praised"). Stockhausen’s original idea for the Fifth Hour of Klang was to have an unaccompanied instrumental piece in three different versions (for bass clarinet, flute, and trumpet), followed by a longer trio for the same instruments, built from the same material.
The young Mily Balakirev In 1856, while Tchaikovsky was still at the School of Jurisprudence and Anton Rubinstein lobbied aristocrats to form the Russian Musical Society, critic Vladimir Stasov and an 18-year-old pianist, Mily Balakirev, met and agreed upon a nationalist agenda for Russian music, one that would take the operas of Mikhail Glinka as a model and incorporate elements from folk music, reject traditional Western practices and use non-Western harmonic devices such as the whole tone and octatonic scales.Figes, 178–181 They saw Western-style conservatories as unnecessary and antipathetic to fostering native talent.Maes, 8–9; Wiley, Tchaikovsky, 27. Eventually, Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin became known as the moguchaya kuchka, translated into English as the "Mighty Handful" or "The Five".
The referent of the musical note B varies by location. See note for a discussion on other differences in letter naming of the notes. In the United States, Canada, Australia, the United Kingdom, the Republic of Ireland, and the Netherlands, as described above, B usually refers to the note a semitone below C, while B-flat refers to the note a whole tone below C. However, in Germany, Central and Eastern Europe, and Scandinavia, the label B is used for what, above, is called B-flat, and the note a semitone below C is called H. This makes possible certain spellings which are otherwise impossible, such as the BACH motif and the DSCH motif (the latter of which also uses the "S" name for what in Anglophone and Dutch notation would be E-flat).
An Érard harp Erard harp mechanism Tuning of Erard harp (using Korg OT-120 Wide 8 Octave Orchestral Digital Tuner) In November 1794 Érard filed the first English patent for a harp (Improvements in Pianofortes and Harps, patent no. 2016), a greatly refined single-action instrument (tuned in E flat) that could be played in eight major and five minor keys thanks to its ingenious fork mechanism which allowed the strings to be shortened by a semitone. Érard's "double movement" seven-pedal action for the harp (perfected and patented in the summer of 1810, Patent no 3332) allows each string to be shortened by one or two semitones, creating a whole tone. This mechanism, still used by modern pedal-harp makers, allows a harpist to perform in any key or chromatic setting.
Since Szymanowski would not travel to the East until 1914, these secondary influences were what he channeled to express his fascination with the exotic. The melody of Die brenndenen Tulpen combines the use of semi-tones for color, rather than to embellish a tonal center and whole-tone scales, which avoid a tonal center for their lack of leading tones, to establish the mood of the song, a slow- burning, yet passionate, perpetual fire that continues, even in death. The harmony of the piano line is constantly moving, depicting a constantly burning fire, rather than establishing a linear harmonic structure. The arc of this piece seems to come out of nowhere, on a sudden leap to an A-natural, a half- step higher than the peak of the previous song, on the word ‘Liebesgluten,’ or ‘glowing, fiery love.’Downes, 129–146.
310 Nevertheless, there are many indicators of the sources and elements of Debussy's idiom. Writing in 1958, the critic Rudolph Reti summarised six features of Debussy's music, which he asserted "established a new concept of tonality in European music": the frequent use of lengthy pedal points – "not merely bass pedals in the actual sense of the term, but sustained 'pedals' in any voice"; glittering passages and webs of figurations which distract from occasional absence of tonality; frequent use of parallel chords which are "in essence not harmonies at all, but rather 'chordal melodies', enriched unisons", described by some writers as non- functional harmonies; bitonality, or at least bitonal chords; use of the whole-tone and pentatonic scales; and unprepared modulations, "without any harmonic bridge". Reti concludes that Debussy's achievement was the synthesis of monophonic based "melodic tonality" with harmonies, albeit different from those of "harmonic tonality".
The hexachord as a mnemonic device was first described by Guido of Arezzo, in his Epistola de ignoto cantu.Guido d'Arezzo, "Epistola de ignotu cantu [ca. 1030]", abridged translation by Oliver Strink in Source Readings in Music History, selected and annotated by Oliver Strunk, 5 vols. (New York: W. W. Norton, 1965): 1:121–25. Latin test in Martin Gerbert, Scriptores ecclesistici de musica sacra potissimum, 3 vols. (St. Blasien, 1784), 2:43–46, 50. See also Clause V. Palisca, "Introduction" to Guido's Micrologus, in Hucbald, Guido, and John on Music: Three Medieval Treatises, translated by Warren Babb, edited, with introductions by Claude V. Palisca, index of chants by Alejandro Enrique Planchart, 49–56, Music Theory Translation Series 3 (New Haven and London: Yale University Press, 1978): esp. 49–50. . In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone.
Transposing the diatonic major scale up in semitones results in a different set of notes being used each time. For example, C major consists of C, D, E, F, G, A, B, and the scale a semitone higher (D major) consists of D, E, F, G, A, B, C. By transposing D major up another semitone, another new set of notes (D major) is produced, and so on, giving 12 different diatonic scales in total. When transposing a mode of limited transposition this is not the case. For example, the mode of limited transposition that Messiaen labelled "Mode 1", which is the whole tone scale, contains the notes C, D, E, F, G, A; transposing this mode up a semitone produces C, D, F, G, A, B. Transposing this up another semitone produces D, E, F, G, A, C, which is the same set of notes as the original scale.
Alexei Stanchinsky is often reviewed as a revolutionary Russian composer, but there are many aspects of his work that can be viewed as a sort of tribute to those musicians that he admired. His first piano sonatas have a sort of texture that resembles the works of Scriabin and Grieg, and in many other works there is a simplicity to them gathered from folksongs that heavily resemble those of Mussorgsky. After his years at the conservatory he began to wander away from the composers of the past and push forward to new ideas that were still being hinted at by 19th century composers. In his second Piano Sonata he began exploring asymmetrical time signatures such as 11/8, and he fully explores the tonality of his works, while relying on harmonic and melodic tension derived from the complete use of octatonic, whole-tone, as well as diatonic and modal collections.
3-11B, {0,4,7}: 001110. Diatonic scale in the chromatic circle with each interval vector a different color, each occurs a unique number of times C major scale with interval classes labelled; vector: 254361 Whole tone scale on C with interval classes labelled; vector: 060603 In musical set theory, an interval vector is an array of natural numbers which summarize the intervals present in a set of pitch classes. (That is, a set of pitches where octaves are disregarded.) Other names include: ic vector (or interval-class vector), PIC vector (or pitch-class interval vector) and APIC vector (or absolute pitch-class interval vector, which Michiel Schuijer states is more proper.) While primarily an analytic tool, interval vectors can also be useful for composers, as they quickly show the sound qualities that are created by different collections of pitch class. That is, sets with high concentrations of conventionally dissonant intervals (i.e.
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.
Whereas in Debussy's works "there is seldom anything that grows thematically or undergoes development" (instead, Debussy marvels the listener with "his mastery in rendering dreamy, passive moods and fleeting, restrained emotions"), Sibelius places "too much weight on the logical development of his musical ideas to let ... them flicker out in the empty nothingness of thematic instability"; in other words, he insists that "atmospheric background swallow neither action nor structure". Sibelius's impressionism is thus "far more ... active" than Debussy's. Other commentators have cautioned against the conclusion that The Oceanides is either an example of impressionism or somehow stylistically indebted to Debussy. Tawaststjerna, for example, believes that the piece's "anchorage in the major-minor harmony and the relatively sparing use of modal and whole-tone formulae" indicates that the tone poem "belongs to the world of late romanticism", the impressionistic character of its texture, harmonic vocabulary, and rhythmic patterns notwithstanding.
The dan bau technique appears relatively simple at first glance, but actually requires a great deal of precision. The fifth finger of the musician's right hand rests lightly on the string at one of seven commonly used nodes, while the thumb and index finger pluck the string using a long plectrum. The nodes are the notes of the first seven overtones, or flageolets, similar to guitar harmonics at the string positions above the octave (1/2), the perfect fifth (2/3), the perfect fourth (3/4), the just major third (4/5), the just minor third (5/6) and two tones not present on the Western musical scale: the septimal minor third (7/6) and the septimal whole tone (8/7). With the left hand, the player pushes the flexible rod toward the instrument with the index finger to lower the pitch of the note, or pushes it away from the instrument with the thumb to raise the pitch.
It also makes significant use of stile brisée, and includes the first French lute music to use an altered tuning. This last point is especially significant, because French composers would embark around 1620 on the exploration of a bewildering array of modified tunings, a period of experimentation that would last about five decades before stabilizing around the standard Baroque D-minor tuning, a radically different system from the tuning in fourths that had been in use since the middle ages. Francisque may therefore be reasonably considered a forerunner of an important historical trend. His altered tuning, which he termed accordes avalées, tuned the courses, lowest to highest, to B-flat, E-flat, F, G, B-flat, F, B-flat, D, G; departing from standard tuning or vieil ton by raising the third course by a semitone, lowering the fifth course by a whole tone, and lowering the ninth course by a major third.
Cochran was one of the first rock-and-roll artists to write his own songs and overdub tracks. He is also credited with being one of the first to use an unwound third string to "bend" notes up a whole tone—an innovation (imparted to UK guitarist Joe Brown, who secured much session work as a result) that has since become an essential part of the standard rock guitar vocabulary. Artists such as Joan Jett and the Blackhearts, the Rolling Stones, Bruce Springsteen, UFO (band), Van Halen, Tom Petty, Rod Stewart, T. Rex, Cliff Richard, the Who, Stray Cats, the Beach Boys, the Beatles, Blue Cheer, Led Zeppelin, the White Stripes, the Sex Pistols, Sid Vicious, Rush, Simple Minds, George Thorogood, Guitar Wolf, Paul McCartney, Alan Jackson, Terry Manning, the Move, David Bowie, Jimi Hendrix, Johnny Hallyday and U2 have covered his songs. It was because Paul McCartney knew the chords and words to "Twenty Flight Rock" that he became a member of the Beatles.
His orchestral idiom developed more gradually, reaching a new maturity in The Sea of 1911, which was to become his most popular and successful orchestral work , receiving frequent performances at the Henry Wood Promenade Concerts during his lifetime. In the period leading up to the First World War Bridge demonstrates an interest in more noticeably modernist tendencies, most notably in Dance Poem of 1913, which suggests the influence of Stravinsky and Debussy. During the war period, his exploration generally took more moderate forms – most often a pastoralism influenced by impressionism – although work such as the Two Poems for orchestra and several piano pieces display significant developments in his harmonic language, specifically towards a coloristic, non- functional use of harmony, and a preference for harmony derived from symmetrical scales such as whole tone and octatonic. During the same period Bridge completed two of his most successful chamber works, the Second String Quartet and Cello Sonata .
Because of the parallel structure typical of the Psalms, psalm verses divide into two roughly equal parts; the end of the first part is indicated by the mediant, a slight bending of notes above and below the reciting tone. For longer phrases, the first part is itself divided into two parts, with the division indicated by the flexa, on which the accented syllable is sung on the reciting tone that preceded it, and the following unaccented syllable is sung a whole tone or a minor third lower (depending on the psalm tone), before returning to the reciting tone until the mediant. After the mediant, the second part of the psalm verse is sung on the reciting tone until the last few words, which are sung to a cadential formula called the termination. Several of the psalm tones have two or three possible terminations, to allow for a smoother return to the following repeat of the antiphon.
This is a list of the fundamental frequencies in hertz (cycles per second) of the keys of a modern 88-key standard or 108-key extended piano in twelve-tone equal temperament, with the 49th key, the fifth A (called A4), tuned to 440 Hz (referred to as A440). Since every octave is made of twelve steps and equals two times the frequency (for example, the fifth A is 440 Hz and the higher octave A is 880 Hz), each successive pitch is derived by multiplying (ascending) or dividing (descending) the previous by the twelfth root of two (approximately 1.059463). For example, to get the frequency a semitone up from A4 (A4), multiply 440 by the twelfth root of two. To go from A4 to B4 (up a whole tone, or two semitones), multiply 440 twice by the twelfth root of two (or just by the sixth root of two, approximately 1.122462). To go from A4 to C5 (which is a minor third), multiply 440 three times by the twelfth root of two, (or just by the fourth root of two, approximately 1.189207).
Finally, following a C-major passage played in rhythmic unison, there is a brief, quiet, open- string pause for breath marked "Andante con scratchy (as tuning up)," followed by a final fff eruption marked "Allegro con fistiswatto (as a K.O.)." According to McDonald, the final movement, The Call of the Mountains, is "music that epitomizes Ives's transcendental ideal of unity in diversity, four musical layers that are rhythmically and melodically independent but together forge a continuous tonality that evokes timelessness and eternity." He suggests that "the apotheosis of 'The Call of the Mountains' is Ives’s own music of the future." In keeping with the program ("walking up the mountain side to view the firmament"), the instruments slowly unite in their efforts to achieve their goal, culminating in a "transcendental" ostinato passage during which the cello plays a slow, majestic descending whole tone scale beginning and ending on D, strongly reminiscent of the ending of the last movement of Ives' Symphony No. 4, completed several years after the composition of the quartet.
At first Slovenian style polka was just music for ethnic clubs and union halls, but the commercial success of Frankie Yankovic (Jankovič) and other musicians soon introduced the genre to a wider audience. William Lausche incorporated the elements of classical music and early jazz at which point the style took on a type of swing that can be heard in his piano playing, even on some early Yankovic recordings. Johnny Pecon and Lou Trebar consequently extended the style to its farthest reaches harmonically, including blue notes, substitutions and compounded symbolism, elements of whole-tone scales, modality, borrowed and altered chords homophonically or in the implied or broken form and compounded and odd rhythmic embellishments or reductions, in addition to the use of structural and textural dynamics and phrasing that had up to that point never been utilized to such a degree. In addition to Frankie Yankovic, the most important pioneers in developing this style of music include Matt Hoyer, Dr. William Lausche, Johnny Pecon, Lou Trebar, Johnny Vadnal, Eddie Habat, and Kenny Bass.
His publisher collected eight short piano pieces together and published them as 8 pièces brèves, allocating each of them a title unauthorised by the composer. The nocturne, the last piece in the set of eight, is shorter and less complex than its immediate predecessor, consisting of a song-like main theme with a delicate semiquaver accompaniment in the left hand.Anderson (1993), pp. 3–4 Title page of the Ninth nocturne, 1908 ;Nocturne No 9 in B minor, Op. 97 (1908) The ninth nocturne, dedicated to Cortot's wife, Clotilde Bréal, is the first of three that share a directness and sparseness in contrast with the more elaborate structures and textures of their predecessors.Nectoux (1991), pp. 381 and 584 The left-hand accompaniment to the melodic line is simple and generally unvaried, and the harmony looks forward to later composers of the 20th century, using a whole tone scale. Most of the piece is inward-looking and pensive, presaging the style of Fauré's final works, although it ends optimistically in a major key.
Joshua Rifkin has argued, based on in- depth analysis of the partially autograph primary sources, that this work is based on an earlier version in A minor in which the solo flute part was scored instead for solo violin.Joshua Rifkin, "The B-Minor Flute Suite Deconstructed" in Gregory Butler (ed.), Bach Perspectives, nr 6: J. S. Bach's Concerted Ensemble Music, The Ouverture 2007: University of Illinois Press, pp. 1–98, Rifkin demonstrates that notational errors in the surviving parts can best be explained by their having been copied from a model a whole tone lower, and that this solo part would venture below the lowest pitches on the flutes Bach wrote for (the transverse flute, which Bach called flauto traverso or flute traversière). Rifkin argues that the violin was the most likely option, noting that in writing the word "Traversiere" in the solo part, Bach seems to have fashioned the letter T out of an earlier "V", suggesting that he originally intended to write the word "violin" (the page in question can be viewed here, p.
Richard argues that inversional symmetry is often a byproduct of another atonal procedure, the formation of chords from transpositionally related dyads. Atonal pitch-class theory also furnishes the resources for exploring polymodal chromaticism, projected sets, privileged patterns, and large set types used as source sets such as the equal tempered twelve tone aggregate, octatonic scale (and alpha chord), the diatonic and heptatonia secunda seven-note scales, and less often the whole tone scale and the primary pentatonic collection. He rarely used the simple aggregate actively to shape musical structure, though there are notable examples such as the second theme from the first movement of his Second Violin Concerto, commenting that he "wanted to show Schoenberg that one can use all twelve tones and still remain tonal". More thoroughly, in the first eight measures of the last movement of his Second Quartet, all notes gradually gather with the twelfth (G) sounding for the first time on the last beat of measure 8, marking the end of the first section.
113-114, § 258). > In music, the genus is called "harmony" which has the interval of a quarter > great tone (μείζων τόνος) in its scale, and such an interval is called the > "enharmonic" hyphesis or diesis, while the diesis with an interval about > half of a great tone is called "chromatic". Since the small tone (ἐλάχιστος > τόνος) is considered equal to 7 parts, the difference about 3 or 4, which > makes a quarter or a third of the great tone, and the interval E βου—F γα, > equal to 3, can be found through the enharmonic diesis; this applied to a > scale, realizes the enharmonic genus. Aristeides said, that the enharmonic > genus was characterised by the diesis about a quarter of a whole tone. But the difference about 50 cents already made the difference between the small tone (ἐλάχιστος τόνος) and the Western semitonium (88:81=143 C', 256:243=90 C'), so it did not only already appear in the hard chromatic genos, but also in the Eastern use of dieses within the diatonic genus and in the definition of the diatonic genus in Latin chant treatises.
Throughout the work the composer explores resonances inherent in a ‘cluster’ harmony which is introduced in horizontal form at the very outset of the work – a very dramatic opening from the bassoons, cellos and double basses, characterised by a heavy, accented dotted rhythm and the upward leap of a fifth and descent by a sixth. The notes of this theme, if spaced out in a single octave, contained every semitone from A up to D. The top three notes (C, C sharp, and D) are of great importance to the work, and each dominates in turn – C at the beginning, D in the middle, and C sharp at the end. The cluster is unravelled and explored in various ways, and a characteristic sonority results: spaced out over several octaves through the orchestra, a major third glitters over the top of a dissonant cluster. The careful scoring and conflicting registers of the sonority presented near the opening including a major third high in the winds (B flat-D) which holds within its span a whole tone (B natural-C sharp) presented low in the basses and cellos.
Become Ocean is scored for a large orchestra divided into 3 spatially-separated groups: ;First group :upstage right, as far as possible from the strings and brass :3 flutes :3 oboes, 3rd doubling English horn :3 clarinets, 3rd doubling bass clarinet :3 bassoons, 3rd doubling contrabassoon :Percussion I, including ::marimba ::vibraphone ::crotales :harp I ;Second group :upstage left, as far as possible from the strings and woodwind :4 horns :3 trumpets :3 trombones :tuba :Percussion II, including ::marimba ::vibraphone :harp II ;Third group :in a wide as possible arc across the stage :Percussion III, including ::3 bass drums ::tam-tam ::suspended cymbal ::timpani :celesta :piano :violins 1A, 1B, 2A, and 2B :violas 1 and 2 :cellos 1 and 2 :double basses 1 and 2, the E-strings tuned down a whole-tone to D Each group is given slowly moving sequences of sound, often in the form of arpeggios for the strings, and each block has its own rise and fall. Thus the groups overlap in an ever-changing pattern. Harmonies are fundamentally tonal; simple diatonic intervals form the basis of the wind instruments' staggered chords. The phrase lengths are constructed so that there are three moments when all the groups reach a climax together; the first is early on, and the second represents the greatest surge of sound.

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