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In contrast, a chord is in open harmony (also called open position or open structure [1]) if there is more than an octave between the top and bottom notes. The more general term spacing describes how far apart the notes in a chord are voiced. A triad in close harmony has compact spacing, while one in open harmony has wider spacing.
The added non-chord note, or auxiliary note, is typically one degree higher or lower than the principal note, and may be chromatically altered. An appoggiatura may be added to a melody in a vocal song or in an instrumental work. The term comes from the Italian verb appoggiare, "to lean upon". The appoggiatura is often used to express emotional ...
Barbershop harmony is a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: the lead sings the melody, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord.
In a chord, a note that is duplicated in different octaves is said to be doubled. (The term magadization is also used [citation needed] for vocal doubling at the octave, especially in reference to early music.) Doubling may also refer to a note or a melodic phrase that is duplicated at the same pitch, but played by different instruments.
The vocal folds are commonly referred to as vocal cords, and less commonly as vocal flaps or vocal bands. The term vocal cords was coined by the French anatomist Antoine Ferrein in 1741. In his violin analogy of the human voice, he postulated that the moving air acted like a bow on cordes vocales. [43]
Ray underwent surgery to remove the cyst on her vocal cord. “The hardest part for Rachael is going to be giving her voice a rest for the next week or so,” Dougiello told People at the time.
Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds , and possessing the same quality.
A modern perspective on voice leading in mm. 3–7 of J. S. Bach's Little Prelude in E minor, BWV 941. From the last chord of each measure to the first chord of the next, all melodic movements (excepting those in the bass) are conjunct; inside each measure, however, octave shifts account for a more complex parsimonious voice leading. [23]