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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 ...
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
Dominant seventh chord on C: C 7 Play ⓘ.. A tetrad is a set of four notes in music theory.When these four notes form a tertian chord they are more specifically called a seventh chord, after the diatonic interval from the root of the chord to its fourth note (in root position close voicing).
In Greek music it was used to tune tetrachords, which were composed into scales spanning an octave. [6] A distinction can be made between extended Pythagorean tuning and a 12-tone Pythagorean temperament. Extended Pythagorean tuning corresponds 1-on-1 with western music notation and there is no limit to the number of fifths.
All-interval tetrachords (Play ⓘ). An all-interval tetrachord is a tetrachord, a collection of four pitch classes, containing all six interval classes. [1] There are only two possible all-interval tetrachords (to within inversion), when expressed in prime form. In set theory notation, these are [0,1,4,6] (4-Z15) [2] and [0,1,3,7] (4-Z29). [3]
The elaboration of tetrachords was also accompanied by penta- and hexachords. The joining of a tetrachord and a pentachord yields an octachord, i.e. the complete seven-tone scale plus a higher octave of the base note. However, this was also produced by joining two tetrachords, which were linked by means of an intermediary or shared note.
Palos of flamenco. 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]
[5] [6] Donald Martino had produced tables of hexachords, tetrachords, trichords, and pentachords for combinatoriality in his 1961 article, "The Source Set and its Aggregate Formations". [ 7 ] The difference between the interval vectors of a set and its complement is <X, X, X, X, X, X/2>, where (in base-ten) X = 12 – 2C, where C is the ...