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Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Relating to music produced by instruments, as opposed to electric or electronic means ad libitum (commonly ad lib; Latin) At liberty (i.e. the speed and manner of execution are left to the performer. It can also mean improvisation.) adagietto Fairly slowly (but faster than adagio) adagio Slowly adagissimo Very, very slowly affannato, affannoso ...
A piece of original music written specifically to accompany a film. A score is typically divided into a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of particular scenes. film speed film stock
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
For example, in the Minuet in Haydn's String Quartet op. 76 no. 6, the Minuet is in standard binary form (section A and B) while the trio is in free form and not in two repeated sections. Haydn labeled the B section "Alternative", a label used in some Baroque pieces (though most such pieces were in proper compound ternary form).
Chamber music; Chart hit; Chops (embouchure) Choral symphony; Chord progression; Chording; Chordioid; Clarion (instrument) Close and open harmony; Coda (music) Composer; Composer tributes (classical music) Concert aria; Conclusion (music) Conducting; Contrafact; Contralto; Copedent; Count off; Countertenor; Cover band; Cross-beat
In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The tenor voice sings G ♯ while the bass sings G ♮ momentarily beneath it, producing the clash of an augmented unison. Ex. 2, typical example of a false relation in the Late Baroque Style. Play ⓘ
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]