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Straus concludes that such conditions do not exist in atonal music and therefore that "atonal prolongation" is impossible; although he is open to the possibility that prolongation is a possibility in other post-tonal music (he gives the example of music composed with the octatonic scale), he argues that in practice most post-tonal music does ...
A song is usually in a certain key, which is usually the note that the song ends on, and is the base frequency around which it resolves to at the end. The base-frequency is usually called the harmonic or key center. Being on-key presumes that there is a key center frequency around which some portion of notes have well defined intervals to.
Taking this one stage further, the clue word can hint at the word or words to be abbreviated rather than giving the word itself. For example: "About" for C or CA (for "circa"), or RE. "Say" for EG, used to mean "for example". More obscure clue words of this variety include: "Model" for T, referring to the Model T.
In music, a caesura denotes a brief, silent pause, during which metrical time is not counted. Similar to a silent fermata, caesurae are located between notes or measures (before or over bar lines), rather than on notes or rests (as with a fermata). A fermata may be placed over a caesura to indicate a longer pause.
Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. [3] [4] capo 1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
Piece of music, usually for a singer Aria di sorbetto: sorbet air: A short solo performed by a secondary character in the opera Arietta: little air: A short or light aria Arioso: airy A type of solo opera or operetta Ballabile: danceable (song) to be danced to Battaglia: battle: An instrumental or vocal piece suggesting a battle Bergamasca ...
The music progresses to an implied E minor dominant (B 7) with a rapid chromatic scale upwards but suddenly sidesteps to C major. The same device is used again in the recapitulation; this time the sidestep is—as one would expect—to F major, the tonic key of the whole Symphony. [citation needed]
Charles Burkhart suggests that the reason codas are common, even necessary, is that, in the climax of the main body of a piece, a "particularly effortful passage", often an expanded phrase, is often created by "working an idea through to its structural conclusions" and that, after all this momentum is created, a coda is required to "look back" on the main body, allow listeners to "take it all ...