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In music theory, a tetrachord (Greek: τετράχορδoν; Latin: tetrachordum) is a series of four notes separated by three intervals.In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion (approx. 498 cents)—but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning ...
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.The purpose of the tone-clock is to consistently order chromatic pitches into 12 triads where each pitch is used only once. [1]
The first two of these are the same as the first two tetrachords of the Greater Perfect System, with a third tetrachord placed above the Meson. When all these are considered together, with the Synemmenon tetrachord placed between the Meson and Diezeugmenon tetrachords, they make up the Immutable (or Unmodulating) System (systema
The only record of communal song in the Gospels is the last meeting of the disciples before the Crucifixion. [1] Outside the Gospels, there is a reference to St. Paul encouraging the Ephesians and Colossians to use psalms, hymns and spiritual songs.
Tetrachord Note order Step to next note (Number of steps) Note name starting from Rast [1] Rast pentachord: Rast tetrachord: 1 T (9) Rast 2 K (8) Dügâh 3 S (5) Segâh 4 T (9) (Only for pentachord) Çârgâh - 5 - Neva
For Uşşak, there is the Uşşak tetrachord and the Hüseynî pentachord. While in Arabic maqam music, maqam Bayati is taken as a basic tetrachord, in Turkish makam music, Uşşak is taken as a basic tetrachord instead. [citation needed]
The Andalusian cadence (diatonic phrygian tetrachord) is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise: iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode (minor). [1] It is otherwise known as the minor ...
Pyknon (from Greek: πυκνόν), sometimes also transliterated as pycnon (from Greek: πυκνός close, close-packed, crowded, condensed; Latin: spissus) in the music theory of Antiquity is a structural property of any tetrachord in which a composite of two smaller intervals is less than the remaining (incomposite) interval.