He explained it as "a serial intervallic language" ruled partly by mathematical principles and inspired, obliquely, by the 20th-century composer Edgard Varèse.
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The group's music is full of stuttering rhythms and teetering intervallic jumps; an array of textures — sometimes chiming, sometimes abraded — disorient you even as they deepen your listening.
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The pattern of notes — E-E-F-G-C-A-G-G — also contains a sizable intervallic leap from the C to the A, which is uncommon in melodies.
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On "Prometheus Unbound," we hear how skillfully Shorter marshals a string section; he uses the orchestra not only to add strength and harmonic layers, but also to give his wide, intervallic leaps a new dynamic momentum.
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Lewin, David. "The Intervallic Content of a Collection of Notes, Intervallic Relations between a Collection of Notes and its Complement: an Application to Schoenberg’s Hexachordal Pieces", Journal of Music Theory 4/1 (1960): 98–101. Mathematical proofs of the hexachord theorem were published by Kassler (1961), Regener (1974), and Wilcox (1983).
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From this point onwards, the BACH motif keeps repeating and its intervallic content collapses and keeps pushing all instruments to their lower pitch.
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There are sounds here that evoke carnivals and circuses as well as parades and rallies. All of them are balanced by shifts of timbre and meter in his architecture. The intervallic structure alone is a dynamism that turns back the notion that interval is merely a device for enhancing or restricting improvisation. Braxton makes it an end in and of itself with a host of instruments creating the necessary shifts for intervallic invention mutate from one to another without seam or stitch.
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Smoke holes were often built in a way such they would not leak water such as with a covering or in the gables. In the Native American long house, smoke holes occur in intervallic square openings along the roof.
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A sampler CD of his own recordings entitled Elektrofoni: Works For Micro Intervallic Guitar 1965-1978 , Henie-Onstad Kunstsenter. was released in 2011. In 2015, a double disc of new recordings by Norwegian guitarist Anders Førisdal was released on Aurora Records.
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The intervallic structure of the mode of Māhur partly parallels that of the major mode in western classic music. Yet, because of the other elements which go into the making of Persian modes, probably no melody in the major mode can be said to be in the mode of Māhur. A far closer analogue from an intervallic standpoint is the Obikhod scale (widespread in Russian medieval Znamenny chant and folk song) and the Jewish Adonai malakh mode. The modal structure of Māhur is shown below for Māhur C : :: 310px The characteristics of this mode are: # The range is unusually wide, a minor 10th.
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Popular Hawaiian music with English verse (hapa haole) can be described in a narrow sense. Generally, songs are sung to the ukulele or steel guitar. A steel string guitar sometimes accompanies. Melodies often feature an intervallic leap, such as a perfect fourth or octave.
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The intervallic unit is a "large semitone", about 10% larger than the semitone of the equal-tempered twelve-tone system (). Beginning at 100 Hz, this scale reaches to ca. 17,200 Hz, with a total of 81 equally spaced pitches. Because of the chosen basic interval, no octave duplications can occur .
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The main theme of this movement has been criticised as "exceptionally shapeless" . The finale is very similar to the opening movement, and uses as its main theme a subject connected by its intervallic structure to that of the fugato that opens the first movement . Eero Tarasti finds this theme "surprisingly feeble" .
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In Béla Bartók's Bagatelles, and several of Alfredo Casella's Nine Piano Pieces such as No. 4 'In Modo Burlesco' the close intervallic relationship between motive and chord creates or justifies the great harmonic dissonance.Samson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920, . New York: W.W. Norton & Company. .
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The Tone Clock, and its related compositional theory Tone-Clock Theory, is a post-tonal music composition technique, developed by composers Peter Schat and Jenny McLeod. Music written using tone-clock theory features a high economy of musical intervals within a generally chromatic musical language. This is because tone-clock theory encourages the composer to generate all their harmonic and melodic material from a limited number of intervallic configurations (called 'Intervallic Prime Forms', or IPFs, in tone-clock terminology). Tone-clock theory is also concerned with the way that the three- note pitch-class sets (trichords or 'triads' in tone-clock terminology) can be shown to underlie larger sets, and considers these triads as a fundamental unit in the harmonic world of any piece.
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In the late 1970s, Corcoran developed a technique he calls "macro-counterpoint". Related to similar approaches by Witold Lutosławski and György Ligeti, it "refers to the contrapuntal treatment of layers of sound as opposed to the traditional focus of the intervallic compatibility of one line with another"Farrell (2013), p. 244; see Bibliography. as in traditional counterpoint.
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Lateral scoring can be said to have occurred when a piece of music is set for one or more instruments from the original number of instruments. An example of this is if a piece of music set for flute and piano is re-scored for clarinet and piano. In this instance, the intervallic relationships remain the same, but the tone colour has changed.
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In respect to his esteemed teacher Simon Kovar, he passes on the Kovar system of bassoon technique, control and artistic performance. In order to teach this method, Marvin Feinsmith utilizes Simon Kovar's 24 Daily Exercises for Bassoon and Mr. Kovar's system of teaching orchestral and solo repertoire, with focus on extreme control of dynamics, tone quality, phrasing, style, intonation, and pinpoint intervallic accuracy.
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Pitch material and intervallic content are often derived from the harmonic series, including the use of microtones. Spectrographic analysis of acoustic sources is used as inspiration for orchestration. The reconstruction of electroacoustic source materials by acoustic instruments is another common approach to spectral orchestration. In "additive instrumental synthesis," instruments are assigned to play discrete components of a sound, such as an individual partial.
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His compositions often make use of repeated patterns, odd-metered time signatures, and intervallic leaps. Turner claims that his music is "unfolding like a narrative". Consequently, his 2014 album Lathe of Heaven is named after Ursula K. Le Guin's novel of the same title which is based on the idea of a world where the nature of reality keeps shifting.
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For instance, the use of a Balinese pentatonic scale for supporting evidence does not accurately reflect Balinese music. As Keiler points out, "there is absolutely no relationship of intervallic content between [the Balinese] scale and the overtone series." Finally, the term monogenesis is slightly misapplied. A common origin for all languages means that a single language emerged before populations spread, after which diversity among languages arose.
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Simply Music first teaches rhythm notation, followed by pitch reading, and then applies these skills to pieces written in standard music notation. Students learn to read pitches by identifying intervals, rather than individual note- names. This is known as an intervallic approach. Simply Music also uses what they call generative learning, meaning that students write music as an integral part of learning to read music.
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NINJAM stands for Novel Intervallic Network Jamming Architecture for Music. The software and systems comprising NINJAM provide a non-realtime mechanism for exchanging audio data across the internet, with a synchronisation mechanism based on musical form. It provides a way for musicians to "jam" (improvise) together over the Internet; it pioneered the concept of "virtual- time" jamming. It was originally developed by Brennan Underwood, Justin Frankel, and Tom Pepper.
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His phrasing almost always featured striking yet subtle transitions between notes that often work contrary to the listener's expectations of consonance and dissonance, with wide and unpredictable intervallic leaps. In his solos he extensively used various fast legato techniques such as slides, hammer-ons and pull-offs (the latter being a personalised method more akin to a 'reversed' hammer-on);Mulhern, Tom (December 1982). "A Style Apart". Guitar Player.
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Although the apogeum is relatively short, clocking in at less than one minute and consisting of a mere twelve bars, it is nevertheless structurally significant. It consists of a succession of 32 twelve-tone chords. Significantly, "It is in chords such as these that Lutosławski found the key to his future development" . By this Thomas is referring to Lutosławski's future preference for writing twelve-tone chords that present systematic vertical intervallic configurations.
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The cover art for the album is a pastel portrait of Shorter by actor Billy Dee Williams. Compositionally, "Atlantis" is noteworthy due to the inclusion of unusual intervallic melodies and a sense of economy and space generated through the use of parallel dominant 9th suspended chords coupled with contrapuntal bass lines. This approach is exemplified by the composition "On the Eve of Departure" which programmatically resembles "When worlds Collide", the George Pal Sci-Fi classic.
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It was subsequently re-issued in original form and track-list order by Warner Jazz (2002), Rhino (2003) and Collectables (2004). In 1997, The New York Times dubbed the album a masterpiece. AMG describes the album as "gorgeous... with a beautiful juxtaposition between the first half and the second half between the rhythmic and intervallic genius of Tristano as an improviser and as a supreme lyrical and swinging harmonist on the back half".
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Olmstead 2008, 218, 291. Sessions's usual method was to use a row to control the full chromaticism and motivic-intervallic cohesion that already marks his music from before 1953. He treats his rows with great freedom, however, typically using pairs of unordered complementary hexachords to provide “harmonic” aspects without determining note-by-note melodic succession, or conversely using the row to supply melodic thematic material while freely composing the subsidiary parts.Morgan 1991, 294–95.
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Another notable feature of this composition is Lutosławski's hallmark use of a twelve-tone chord. Lutosławski's twelve-tone chords are symmetrical and often use a limited number of intervals. For example, the woodwind pitches of section A contain 12 notes and exhibit the following intervallic structure from bottom to top: 23222 / 5 / 22232. Thus, such aleatoric counterpoint produces a special type of sound mass in which the full chromatic spectrum is not covered.
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By the beginning of the Baroque period, the notion of the musical key was established, describing additional possible transpositions of the diatonic scale. Major and minor scales came to dominate until at least the start of the 20th century, partly because their intervallic patterns are suited to the reinforcement of a central triad. Some church modes survived into the early 18th century, as well as appearing in classical and 20th- century music, and jazz (see chord-scale system).
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George Perle is equally certain that it is constructed instead from three- note "intervallic cells" . The three pieces are given a unity of atonal musical space through the projection of material from the first piece into the other two, including recurring use of motivic material. The first of the three motivic cells of the first piece is used throughout the second, and the first and third cells are found in the third . The third piece is the most innovative of the three.
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Sadigursky has published three books of original clarinet etudes. 25 Clarinet Etudes Book 1 was published in 2009, and then followed by 25 Clarinet Etudes Book 2 in 2011, which was followed by 10 Extended Etudes for Clarinet in 2017. Most of the etudes in Book 1 were recorded by clarinetist Marianne Gythfeldt and bass clarinetist Michael Lowenstern has recorded several of the etudes in Book 2. In 2012, he wrote 12 Intervallic Etudes for Saxophone, which is published by Delatour, France.
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In traditional Western notation, the scale used for a composition is usually indicated by a key signature at the beginning to designate the pitches that make up that scale. As the music progresses, the pitches used may change and introduce a different scale. Music can be transposed from one scale to another for various purposes, often to accommodate the range of a vocalist. Such transposition raises or lowers the overall pitch range, but preserves the intervallic relationships of the original scale.
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For Aristoxenus himself, these shades were dynamic: that is, they were not fixed in an ordered scale, and the shades were flexible along a continuum within certain limits. Instead, they described characteristic functional progressions of intervals, which he called "roads" (ὁδοί), possessing different ascending and descending patterns while nevertheless remaining recognisable. For his successors, however, the genera became fixed intervallic successions, and their shades became precisely defined subcategories (; ). Furthermore, in sharp contrast to the Pythagoreans, Aristoxenos deliberately avoids numerical ratios.
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Pitch class inversion: 234te reflected around 0 to become t9821 The basic operations that may be performed on a set are transposition and inversion. Sets related by transposition or inversion are said to be transpositionally related or inversionally related, and to belong to the same set class. Since transposition and inversion are isometries of pitch-class space, they preserve the intervallic structure of a set, even if they do not preserve the musical character (i.e. the physical reality) of the elements of the set.
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The prime form of Epitaphium's row is C, A, D, E, C, B, F, F, D, G, G, A . The first hexachord is closely related to the opening of The Firebird , while the intervallic makeup of the entire series shows affinities with the row used by Boulez in Structures for two pianos and the one in Stravinsky’s own Double Canon, written in the same year as Epitaphium . The row occurs only in its untransposed form, which is typical of Stravinsky's smaller twelve-tone pieces .
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The album of solo piano performances by Battaglia was recorded at Murec Studio in Milan on 5 December 1993. Various harmonic structures are prevalent in his playing: "Making original use of arpeggiated scalar devices and intervallic structural shifts (cascading a skein of chords tonally from E flat through to A flat 7 while playing all the tones between on the left hand as the right hand builds scales from each half tone in 9/8 time is a common one) gives Battaglia room to juxtapose stylistic considerations not only from jazz but European classical musical as well".
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However, the piece is definitely structured in a sonata rondo. The sonata rondo form follows an [AB] [A'C] [A'’B'’] [Coda] pattern, where A is a first theme, B is a second theme, and C is a middle section loosely related to A and B: A – Theme 1 starts at the beginning of the piece. It is easily identified by the oscillating melody in the xylophones. It moves through rhythmic and intervallic variations until a bridge into the next theme (measure 38 in the original scoring). B – Theme 2 (m77) features the pianolas, supported by drums.
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ISMN M-2018-0704-1 The last movement is a "quite obvious" example of the hunt topic, "in which the intervallic construction, featuring prominent tonic and dominant triads in the main melody, was to some degree dictated by the capability of the horn, and so was more closely allied with the original 'pure' characteristics of the 'chasse' as an open-air hunting call."John Irving, Mozart, the "Haydn" quartets. Cambridge: Cambridge University Press (1998): 95, note 20. "Once defined, however, such 'chasse' characteristics could survive transplantation to other instruments and genres," such as the String Quartet in B-flat, K. 458.
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Batten has written two music books: Two Hand Rock (published by Hal Leonard) and The Transcribed Guitar Solos of Peter Sprague (self-published). She also has three DVD/download courses available from TrueFire: Rock Sauce for Lead Guitar, Rock Sauce for Rhythm Guitar, and 50 Ultra Intervallic Guitar Licks You Must Know. In 2019, Batten worked with Rodrigo Teaser for a tribute to Michael Jackson ten years after his death, titled 10 years without Michael Jackson. For this show, Batten was joined LaVelle Smith Jr., who was Jackson's choreographer and dancer for more than 20 years.
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Frances Oman Clark (March 28, 1905 – April 17, 1998) was an American pianist, pedagogue, and academic who authored, co-authored and edited many widely used piano method books, most notably The Music Tree series. Her 1955 publication, Time to Begin, introduced the concept of teaching music reading by pattern recognition, thus pioneering the "intervallic method", which "revolutionised" the teaching of music reading.Bruno Emond and Gilles Comeau, "Cognitive modeling of early music reading skill acquisition for piano", In N. Rußwinkel, U. Drewitz & H. van Rijn (eds.), Proceedings of the 11th International Conference on Cognitive Modeling, Berlin: Universitaetsverlag der TU Berlin.
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Webern's use of symmetrical harmonic fields to focus and control the vertical functioning of his polyphony was a crucial stimulus. Lumsdaine's own harmonic language has elements of symmetry and intervallic limitation, and though usually derived from 12-pitch sets, is rarely strictly chromatic. In his masterly piano work 'Kelly Ground' (1966) the harmonic ground is a characteristic chordal area which, although dissonant overall, contains numerous quasi-diatonic subsets, with the interval of perfect fourth especially prominent. The overall progression of the work is towards the elimination of all extraneous pitch elements until only the ground itself remains.
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Her sons, the Hero Twins, Monster Slayer and Born-for-the-Water, are also sung about, for they rid the world of giants and evil monsters. Stories such as these are spoken of during these sacred ceremonies. The "popular" music resembles the highly active melodic motion of the choruses, featuring wide intervallic leaps and melodic range usually an octave to octave and a half. Structurally, the songs are created from the complex repetition, division, and combinations of most often no more than four or five phrases, with short songs often immediately following each other for continuity as needed in work songs.
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Other terms used to make the distinction are twelve-note serialism for the former and integral serialism for the latter. A row may be assembled pre-compositionally (perhaps to embody particular intervallic or symmetrical properties), or derived from a spontaneously invented thematic or motivic idea. The row's structure does not in itself define the structure of a composition, which requires development of a comprehensive strategy. The choice of strategy often depends on the relationships contained in a row class, and rows may be constructed with an eye to producing the relationships needed to form desired strategies .
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He also produced some of his characteristic "effects" by moving a fixed shape (such as a diminished chord) rapidly up and down the fretboard, resulting in what one writer has called "intervallic cycling of melodic motifs and chords".Django's Fret Hand & Fingerboard Technique. Available at gypsyjazzuk.wordpress.com. For an unsurpassed insight into these techniques in use, interested persons should not miss viewing the only known synchronised (sound and vision) footage of Reinhardt in performance, playing on an instrumental version of the song "J'Attendrai" for the short jazz film "Le Jazz Hot" in 1938-39 (copies available on YouTube and elsewhere).
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The Saturday Greeting is performed from the four cardinal points of the theatre by 26 brass players divided into four choirs, two of which each have an added percussionist. The opening of space characteristic of the opera is forecast in the gradual intervallic expansion in thirteen phases from an opening major third toward an interval of an octave plus a major seventh. The musical content is derived from the opera's third scene, Lucifer's Dance, specifically from the section with the text "Augen gegen Augen" (eye against eye), which similarly involves four groups of the wind orchestra.
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Schütz was one of the last composers to write in a modal style. His harmonies often result from the contrapuntal alignment of voices rather than from any sense of "harmonic motion"; contrastingly, much of his music shows a strong tonal pull when approaching cadences. His music includes a great deal of imitation, but structured in such a way that the successive voices do not necessarily enter after the same number of beats or at predictable intervallic distances. This contrasts sharply with the manner of his contemporary Samuel Scheidt, whose counterpoint usually flows in regularly spaced entries.
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One of Schwantner's early works, Diaphonia intervallum (1967) distinctly foreshadowed the important style traits that would later exist in his music. Beyond its serial structure such elements as individualized style, pedal points, timbre experimentation, instrumental groupings, and the use of extreme ranges were apparent even at this formative stage of Schwantner's career. Upon his appointment to the faculty of the Eastman School of Music, Schwantner's work Consortium I was premiered in 1970. This piece clearly illustrates his personal use of serialism, including many twelve-tone rows hidden among the texture and using a specific intervallic structure to provide cohesion.
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When octaves are stretched, they are tuned, not to the lowest coincidental overtone (second partial) of the note below, but to a higher one (often the 4th partial). This widens all intervals equally, thereby maintaining intervallic and tonal consistency. All western music, but western classical literature in particular, requires this deviation from the theoretical equal temperament because the music is rarely played within a single octave. A pianist constantly plays notes spread over three and four octaves, so it is critical that the mid and upper range of the treble be stretched to conform to the inharmonic overtones of the lower registers.
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In the Middle Ages, simultaneous notes a fourth apart were heard as a consonance. During the common practice period (between about 1600 and 1900), this interval came to be heard either as a dissonance (when appearing as a suspension requiring resolution in the voice leading) or as a consonance (when the root of the chord appears in parts higher than the fifth of the chord). In the later 19th century, during the breakdown of tonality in classical music, all intervallic relationships were once again reassessed. Quartal harmony was developed in the early 20th century as a result of this breakdown and reevaluation of tonality.
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Theorists of the later 20th century often use the term "tetrachord" to describe any four-note set when analysing music of a variety of styles and historical periods.Benedict Taylor, "Modal Four-Note Pitch Collections in the Music of Dvořák's American Period", Music Theory Spectrum 32, no. 1 (Spring 2010): 44–59; Steven Block and Jack Douthett, "Vector Products and Intervallic Weighting", Journal of Music Theory 38, no. 1 (Spring 1994): 21–41; Ian Quinn, "Listening to Similarity Relations", Perspectives of New Music 39, no. 2 (Summer 2001): 108–58; Joseph N. Straus, "Stravinsky's 'Construction of Twelve Verticals': An Aspect of Harmony in the Serial Music", Music Theory Spectrum 21, no.
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In 1981, Looten developed a scale of sounds never before consciously used or noted: the bi-pentaphonic mode. It results from the superposition (with two common notes) of two hexaphones of identical and unretrogradable intervallic structure. The use of this scale (transposable to the 12 degrees) is a source of great richness as much on the expressive level as for the structure of the work. Constituted of ten sounds (the missing two are absolutely excluded in so far as a modulation has not reintroduced them), it gives the composer writing atonal music all the structural, rhetoric and symbolic possibilities that the tonal language offers.
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When performing eurythmy with music (also called tone eurythmy), the three major elements of music, melody, harmony and rhythm, are all expressed. The melody is primarily conveyed through expressing its rise and fall; the specific pitches; and the intervallic qualities present. Harmony is expressed through movement between tension and release, as expressions of dissonance and consonance, and between the more inwardly directed minor mood and the outwardly directed major mood. Rhythm is chiefly conveyed through livelier and more contoured movements for quick notes, slower, dreamier movements for longer notes; in addition, longer tones move into the more passive (listening) back space, quicker tones into the more active front space.
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In his 1960 book, The Harmonic Materials of Modern Music, Howard Hanson introduced a monomial method of notation for this concept, which he termed intervallic content: pemdnc.sbdatf To quantify the consonant-dissonant content of a set, Hanson ordered the intervals according to their dissonance degree, with p=perfect fifth, m=major third, n=minor third, s=major second, d=(more dissonant) minor second, t=tritone for what would now be written . The modern notation, introduced by Allen Forte, has considerable advantages and is extendable to any equal division of the octave. A scale whose interval vector has six unique digits is said to have the deep scale property.
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According to Peter Margasak, Ben can be heard "reinforcing the rhythmic agility of his songs with pin-point phrasing, surprising intervallic leaps, and a plaintive kind of moan". On "Zé Canjica" and "Charles Jr.", he improvises phrases (such as "Comanchero" and "the mama mama, the mama say") as rhythmic accompaniment during otherwise instrumental sections of the songs. The singer also implores the name of "Comanche" occasionally on the album. As Parahyba explains, it is a nickname given to him by Ben, who originally recorded it as a joke on "Charles Jr." A different explanation came in the form of a lyric in Ben's 1971 song "Comanche": "My mother calls me / Comanche".
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The Haridasas mention a corpus of thirty-two ragas called battisa raga, known in Karnataka since the 12th century with repeated mentions in medieval Kannada literature. The Haridasas employed a scheme of classification in which a set of ragas might have the same root name but were prefixed differently, thus grouping together ragas which differed widely in intervallic content. They also classified ragas into sets of five which alluded to the five primordial elements - prithvi, upp, tejas, vayu and akasha. Thanks to their descriptions in contemporary musical treatises, these ragas, names and classifications have survived to the present times enabling musicologists to recreate their music.
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Both Fazioli and Mason and Hamlin (of Haverhill, Massachusetts) employ tunable duplex scaling. The idea behind duplex scaling, invented by Theodore Steinway in 1872, is that the non- speaking portion of the string, located between the non-speaking bridge pin and the hitch pin (formerly considered the "waste end" and damped with a strip of cloth), resounds in sympathy with the vibrating portion of the string. Steinway & Sons' earliest employment of the duplex scale made use of aliquots, individually positionable (hence tunable) contact points, where each note of the duplex scale bears a perfect harmonic, intervallic relationship to its speaking length, i.e., an octave or fifth whether doubled or tripled.
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In the ancient Greek enharmonic genus, the tetrachord contained a semitone of varying sizes (approximately 100 cents) divided into two equal intervals called dieses (single "diesis", δίεσις); in conjunction with a larger interval of roughly 400 cents, these intervals comprised the perfect fourth (approximately 498 cents, or the ratio of 4/3 in just intonation) . Theoretics usually described several diatonic and chromatic genera (some as chroai, "coloration" of one specific intervallic type), but the enarmonic genus was always the only one (argumented as one with the smallest intervals possible). Vicentino's archicembalo in cents Guillaume Costeley's "Chromatic Chanson", "Seigneur Dieu ta pitié" of 1558 used 1/3 comma meantone and explored the full compass of 19 pitches in the octave .
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Minor as upside down major. The Istrian scale may be tuned as subharmonics 14 through 7 D First proposed by Zarlino in Instituzione armoniche (1558), the undertone series has been appealed to by theorists such as Riemann and D'Indy to explain phenomena such as the minor chord, that they thought the overtone series would not explain. However, while the overtone series occurs naturally as a result of wave propagation and sound acoustics, musicologists such as Paul Hindemith considered the undertone series to be a purely theoretical 'intervallic reflection' of the overtone series. This assertion rests on the fact that undertones do not sound simultaneously with its fundamental tone as the overtone series does.
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Mel Bay Jazz Scales for Guitar, p.48. . There are five types of frequently used bebop scales: # the bebop dominant scale # the bebop Dorian scale # the bebop major scale # the bebop melodic minor scale # the bebop harmonic minor scale Each of these scales has an extra chromatic passing tone. In general, bebop scales consist of traditional scales with an added passing tone placed such that when the scale is begun on a chord tone and on the downbeat, all other chord tones will also fall on downbeats, with the remaining tones in the scale occurring on the upbeat (given that the scale is played ascending or descending; i.e., no intervallic skips are played).
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Novák's music retained at least some elements of the late-Romantic style until his death. His earliest work to receive an opus number was a piano trio in G minor, but was preceded, in order of composition, by several works including an unpublished serenade in B minor for piano dating from 1886–7; all of these bear the influences of Schumann and Grieg. In his earliest years after graduating from Prague Conservatory, his work began to show some influence from Moravian and Slovak folk music, which he began to collect and study in the late 1890s. Within the decade he had assimilated the basic intervallic and rhythmic characteristics of these folksongs into a very personal compositional style.
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Prolific contributions of these composers and their contemporaries marked a period of renaissance in the musical history of India and Carnatic music. The impact of this renaissance was further amplified by the close proximity of these composers and theoretician. Paradigmatic changes, such as the merger of madhyama grama into Sadjagrama, the standardisation of all melodic materials within the frame of the Sadjagrama, a new alignment of intervallic values and scalar temperament, tuning of keyboard chordophones, models of melodic classification wrought during this period are reflected in the music and compositions of the Haridasas. The tamburi (a stringed drone instrument) often identified with the Haridasas, is mentioned for the first time by Sripadaraya and subsequently by Vyasarayaru and Purandaradasaru.
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He wrote with Jorge Gil Música y Teoría de Grupos Finitos, 3 Variables Booleanas, with an English abstract (IIE UNAM, Mexico 1984). He has postulated a General Theory of Intervallic Classes, applicable to macro and microintervallic scales of duration and of pitch. He has developed together with M. Díaz and Víctor Adán the computer music program MUSIIC to generate the combinatory potential of music scales based on the division of the octave. In the field of the continuum Estrada has developed new methods of multidimensional graphic representation of different components of sound (pitch, dynamics, colour), rhythm (pulse, attack, vibrato) and three- dimensional physical space. His first research on the continuum field was published in 1998 in Darmstadt : Ouvrir l’horizon du son: le continuum.
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Terminology other than "microtonal" has been used or proposed by some theorists and composers. In 1914, A. H. Fox Strangways objected that "'heterotone' would be a better name for śruti than the usual translation 'microtone'" . Modern Indian researchers yet write: "microtonal intervals called shrutis" . In Germany, Austria, and Czechoslovakia in the 1910s and 1920s the usual term continued to be Viertelton-Musik (quarter tone music; ), and the type of intervallic structure found in such music was called the Vierteltonsystem (,), which was (in the mentioned region) regarded as the main term for referring to music with microintervals, though as early as 1908 Georg Capellan had qualified his use of "quarter tone" with the alternative term "Bruchtonstufen (Viertel- und Dritteltöne)" (fractional degrees (quarter and third tones)) .
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Typical melodic features include a characteristic ambitus, and also characteristic intervallic patterns relative to a referential mode final, incipits and cadences, the use of reciting tones at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants. The scale patterns are organized against a background pattern formed of conjunct and disjunct tetrachords, producing a larger pitch system called the gamut. The chants can be sung by using six-note patterns called hexachords. Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed.
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Alison Latham (Oxford and New York: Oxford University Press, 2002) In tonal music, invertible contrapuntal lines must be written according to certain rules because several intervallic combinations, while acceptable in one particular orientation, are no longer permissible when inverted. For example, when the note "G" sounds in one voice above the note "C" in lower voice, the interval of a fifth is formed, which is considered consonant and entirely acceptable. When this interval is inverted ("C" in the upper voice above "G" in the lower), it forms a fourth, considered a dissonance in tonal contrapuntal practice, and requires special treatment, or preparation and resolution, if it is to be used. The countersubject, if sounding at the same time as the answer, is transposed to the pitch of the answer.
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The tone quality of these locally produced guitars is described by Ciantar (1997) as "very compact, with very low bass resonance". Such tuning is through to better facilitate the technical demands imposed on the lead guitarist in the creation of new motifs and variations. In the introductory section a series of rhythmic and intervallic structures are created and developed; this same rhythmic and melodic material is then reiterated in the second section by both the ghannejja and the lead guitarist. The frequent use of syncopation and descending melodic movements, for instance, form part of the formal structure of both the singing and instrumental soloing in the spirtu pront; these are structural elements announced in the introductory section as to establish the style of both Ghana singing and playing.
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Schutte administered a thorough theoretical grounding to her pupils and used Théorie de la Musique by A. Danhauser as a framework, supplemented by other intervallic, scalar and harmonic studies. Pupils were also trained in the European tradition of fixed-do Solfège (still used at The Juilliard School and at the Curtis Institute) for application in sight-singing and transposition at sight. The principles of the Russian school of technique as received from the Lhévinnes was taught, from the most fundamental posture, shape and movements of the hands, fingers and wrist, to the most advanced aspects using a systematic review of mechanical exercises (Schmitt, Isidor Philipp, Theodor Kullak, Hermann Berens, Ignaz Moscheles), and études (Carl Czerny, Cramer, Muzio Clementi, Chopin and others). Repertoire and principles of interpretation were built about the foursome of J.S. Bach, Classical sonatas, Romantic literature, and 20th century works.
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The Allmusic review states, "Goin' to the Meetin showcases Horace Parlan in a way even his Blue Note records didn't. While Davis appears to be the leader because of his beat generation bluesed-out swing in the solos and brief melodic statements, it's Parlan, on the title track, "Pass the Hat," and "Night and Day," who carries the tunes and turns them into a very sophisticated and subtle kind of jazz that allows for both the simplicity of a raw-toned, grooved-out blues statement and simultaneously created the space for a harmonic improvisation that employed counterpoint and intervallic architecture for the rhythm section. Parlan's own soloing is nothing less than soulful, but it is considerably more than soul he's playing. Moreover, Parlan is laying down the sophistication evidenced in the post-bop and modal playing of both Bill Evans and Horace Silver".
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The rhythmic structure of Musique de Devenir is aleatoric, while its pitch designations are fixed. Inspired by Japanese poetry, in the Three Haiku, commissioned by the 1967 Music Biennale Zagreb, Maksimović ‘paints’ a distant, faraway Japanese scenery. In distinction to Musique de Devenir, only partially subjected to the aleatoric principle (Peričić 1969, 242), the Three Haiku is entirely dominated by this principle. The particular instrumental timbre, and a specific treatment of the women's choir often featuring voice movements at intervallic distances of seconds and abound in imprecisely notated whisper and parlando, served the composer for invoking the ‘sound of Japan.’ This work is also characterized by clusters built by aleatoric stratification of instruments that renders unique chordal ‘coloration.’ Maksimović composed the book of six madrigals Chants out of the Darkness (1975) for a cappella choir upon literary texts by mostly anonymous medieval authors.
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In its treatment of vertical pitch space, the First String Quartet falls relatively early within Carter's development of a harmonic procedure involving sets of pitch classes. Specifically, Carter claims that he was guided by an all-interval tetrachord in the development of this work. > In all my works from the Cello Sonata up through the Double Concerto I used > specific chords mainly as unifying factors in the musical rhetoric—that is, > as frequently recurring central sounds from which the different pitch > material of the pieces was derived. For example, my First String Quartet is > based on an "all-interval" four-note chord, which is used constantly, both > vertically and occasionally as a motive to join all the intervals of the > work into a characteristic sound whose presence is felt "through" all the > very different kinds of linear intervallic writing.
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16–24 were premiered in Lisbon on 17 July 2007 by the Spanish pianist Antonio Pérez Abellán, to whom these are dedicated (Stockhausen-Stiftung für Musik 2008, 37 & 78). > There are various ways to determine the intervals of entry using the > durations of tones or sounds, whereby each time the entire rhythmic > development of a piano piece is governed by natural durations. In some of > the pieces, the durations are regulated by prescribed in- and exhaling, or > by the resonances of RIN (Japanese temple instruments) which are struck. In > this cycle, also various degrees of difficulty of the piano playing result > in natural durations—for example, intervallic leaps of various sizes, or the > way fingers mesh, or the bunching together of simultaneously played keys, or > combinations of attacks, clusters, glissandi and the more or less > complicated notation of the attack durations.
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This provides an exemplary demonstration > of that logical principle of seriality: every situation must occur once and > only once . Henri Pousseur, after initially working with twelve-tone technique in works like Sept Versets (1950) and Trois Chants sacrés (1951), > evolved away from this bond in Symphonies pour quinze Solistes [1954–55] and > in the Quintette [à la mémoire d’Anton Webern, 1955], and from around the > time of Impromptu [1955] encounters whole new dimensions of application and > new functions. > The twelve-tone series loses its imperative function as a prohibiting, > regulating, and patterning authority; its working-out is abandoned through > its own constant-frequent presence: all 66 intervallic relations among the > 12 pitches being virtually present. Prohibited intervals, like the octave, > and prohibited successional relations, such as premature note repetitions, > frequently occur, although obscured in the dense contexture.
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A + B → C, on the other hand, indicates that hearing two different items yields an expected change in the implied item. The second claim is that the "forms" above function to provide either closure or nonclosure. Narmour goes on to describe the five melodic archetypes of his theory: # process [P] or iteration (duplication) [D] (A + A without closure) # reversal [R] (A + B with closure) # registral return [aba] (exact or nearly exact return to same pitch) # dyad (two implicative items, as in 1 and 2, without a realization) # monad (one element which does not yield an implication) Central to the discussion is the notion of registral direction (direction of motion) and size of intervals between pairs of pitches. [P] (process) refers to motion in the same registral direction combined with similar intervallic motion (two small intervals or two large intervals).
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Though most sources will say it was invented by Austrian composer Arnold Schoenberg in 1921 and first described privately to his associates in 1923, in fact Josef Matthias Hauer published his "law of the twelve tones" in 1919, and should be credited with inventing the technique, requiring that all twelve chromatic notes sound before any note is repeated.Schoenberg 1975, 213. The method was used during the next twenty years almost exclusively by the composers of the Second Viennese School—Alban Berg, Anton Webern, and Schoenberg himself. The twelve tone technique was preceded by "freely" atonal pieces of 1908–1923 which, though "free", often have as an "integrative element ... a minute intervallic cell" which in addition to expansion may be transformed as with a tone row, and in which individual notes may "function as pivotal elements, to permit overlapping statements of a basic cell or the linking of two or more basic cells".Perle 1977, 9–10.
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"The series is not an order of succession, but indeed a hierarchy—which may be independent of this order of succession" (, 18, translated in ). Rules of analysis derived from twelve-tone theory do not apply to serialism of the second type: "in particular the ideas, one, that the series is an intervallic sequence, and two, that the rules are consistent" . For example, Stockhausen's early serial works, such as Kreuzspiel and Formel, "advance in unit sections within which a preordained set of pitches is repeatedly reconfigured ... The composer's model for the distributive serial process corresponds to a development of the Zwölftonspiel of Josef Matthias Hauer" . Goeyvaerts's Nummer 4 > provides a classic illustration of the distributive function of seriality: 4 > times an equal number of elements of equal duration within an equal global > time is distributed in the most equable way, unequally with regard to one > another, over the temporal space: from the greatest possible coïncidence to > the greatest possible dispersion.
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Blunnie, 'Passion', op. cit., p. 226. In terms of style, Maconchy had "a predilection for intervallic composition", and, "profoundly influenced by the resonances produced by certain intervals, [she] tended to build works around one or a small number of intervals, which varied according to the work in question". A favoured "harmonic device" was the "simultaneous use of major and minor sonorities", which "came to denote episodes of heightened emotion".Blunnie, 'Passion', op. cit., p. 229. Blunnie is acknowledging here composer Grace Williams assessment of this device as a "fingerprint" of Maconchy. It has been argued that her work is often "driven by rhythm", which gives it its characteristic confluence of "energy, dynamism and imagination".Blunnie, 'Passion', op. cit., p. 230. Maconchy's cycle of thirteen string quartets, composed between 1932 and 1983, is regarded as the peak of her musical achievements.Hugo Cole and Jennifer Doctor, "Maconchy, Dame Elizabeth", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
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Thirteen-note tone row and its inversion. Everything in the work is based on this row and, in addition, it is used to define the large-scale structure of the piece by providing a series of tonics by means of the ring modulation. The prime form of the row is used in piano I's oscillator, the inversion in piano II's oscillator, with one note from each row form in each of the work's thirteen sections (; ; ; ). The "mantra" (melody formula) is made of an upper and lower voice; it is divided temporally into 4 segments with rests of 3, 2, 1, and 4 crotchets' duration following the segments. The 13 notes of the mantra's upper voice form a 12-tone row where the 13th note returns to the first note A. The lower voice consists of an intervallic inversion of the upper voice with transposed segments: the first segment of the lower voice corresponds to the inversion of second segment of the upper voice and vice versa; similarly, the third and fourth segments in the inverted voice are also exchanged .
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