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In music, a pitch class (p.c. or pc) is a set of all pitches that are a whole number of octaves apart; for example, the pitch class C consists of the Cs in all ...
Pitch is a perceptual property that allows sounds to be ordered on a frequency-related scale, [1] or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. [2] Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre ...
A pitch class is defined as the set of all pitches that share the same chroma. For example, using the scientific pitch notation, the pitch class corresponding to the chroma C is the set {..., C −2, C −1, C 0, C 1, C 2, C 3...} consisting of all pitches separated by an integer number of octaves.
The complement of set X is the set consisting of all the pitch classes not contained in X. [12] The product of two pitch classes is the product of their pitch-class numbers modulo 12. Since complementation and multiplication are not isometries of pitch-class space, they do not necessarily preserve the musical character of the objects they ...
The unique characteristics of octaves gave rise to the concept of pitch class: pitches of the same letter name that occur in different octaves may be grouped into a single "class" by ignoring the difference in octave. For example, a high C and a low C are members of the same pitch class—the class that contains all C's.
Notation indicating differing pitch, dynamics, articulation, and instrumentation. Music can be analysed by considering a variety of its elements, or parts (aspects, characteristics, features), individually or together. A commonly used list of the main elements includes pitch, timbre, texture, volume, duration, and form.
Comparison between tunings: Pythagorean, equal-tempered, quarter-comma meantone, and others.For each, the common origin is arbitrarily chosen as C. The degrees are arranged in the order or the cycle of fifths; as in each of these tunings except just intonation all fifths are of the same size, the tunings appear as straight lines, the slope indicating the relative tempering with respect to ...
The others were conjunct melodic motion, acoustic consonance, harmonic consistency, and pitch centricity. He considered their (non-)interaction, relative importance, and mutual reinforcement. [9] Of macroharmonies specifically, he asked: [10] What is the number of pitch classes in a given macroharmony, if fewer than the total chromatic (aggregate)?