Search results
Results From The WOW.Com Content Network
G♯ (G-sharp) or sol dièse is the ninth semitone of the solfège.In the German pitch nomenclature, it is known as gis. [1]It lies a chromatic semitone above G and a diatonic semitone below A, thus being enharmonic to la bémol or A ♭ (A-flat).
In time (i.e. the performer should return to the stable tempo, such as after an accelerando or ritardando); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet) ab (Ger.) off, organ stops or mutes abafando (Port.) muffled, muted abandon or avec (Fr.)
In this example sound, a common element, is excluded, while gesture, a less common element, is given primacy. However Nattiez goes on to say that despite special cases where sound is not immediately obvious (because it is heard in the mind): "sound is a minimal condition of the musical fact". [22]
This glossary includes terms for musical instruments, playing or singing techniques, amplifiers, effects units, sound reinforcement equipment, and recording gear and techniques which are widely used in jazz and popular music. Most of the terms are in English, but in some cases, terms from other languages are encountered (e.g. to do an "encore ...
Although the enharmonic key of A-flat major is preferred because A-flat major has only four flats as opposed to G-sharp major's eight sharps (including the F), G-sharp major appears as a secondary key area in several works in sharp keys, most notably in the Prelude and Fugue in C-sharp major from Johann Sebastian Bach's The Well-Tempered Clavier, Book 1.
In music, form refers to the structure of a musical composition or performance.In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of ...
The chord is found in several works by Chopin, from as early as 1828, in the Sonata in C minor, Op. 4 and his Scherzo No. 1, composed in 1830. [2] It is only in late works where tonal ambiguities similar to Wagner's arise, as in the Prelude in A minor, Op. 28, No. 2, and the posthumously published Mazurka in F minor, Op. 68, No. 4.
Also, the same numbers are used to represent both pitches and intervals. For example, the number 4 serves both as a label for the pitch class E (if C = 0) and as a label for the distance between the pitch classes D and F ♯. (In much the same way, the term "10 degrees" can label both a temperature and the distance between two temperatures.)