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In a classical piece of the Baroque period, for example, an added sixth chord (made up of the notes C, E, G and A, for example) has a very strong need to resolve, while in a more modern work, that need is less strong - in the context of a pop or jazz piece, such a chord could comfortably end a piece and have no particular need to resolve.
A melodic or harmonic configuration that creates a sense of resolution cadenza A solo section, usually in a concerto or similar work, that is used to display the performer's technique, sometimes at considerable length calando Falling away, or lowering (i.e. getting slower and quieter; ritardando along with diminuendo) calma Calm; so con calma ...
In music, form refers to the structure of a musical composition or performance.In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of ...
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.
In Western musical theory, a cadence (from Latin cadentia ' a falling ') is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. [2] A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. [3]
An appoggiatura (/ ə ˌ p ɒ dʒ ə ˈ tj ʊər ə / ə-POJ-ə-TURE-ə, Italian: [appoddʒaˈtuːra]; German: Vorschlag or Vorhalt; French: port de voix) is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord.
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The major/minor compositions in the following lists do not necessarily end with a minor chord; a final passage in minor ending with a sonority that fails to re-establish the major mode (for example, an open octave or fifth) is sufficient. Works falling into the following categories are excluded: