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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 ...
Pyknon (from Greek: πυκνόν), sometimes also transliterated as pycnon (from Greek: πυκνός close, close-packed, crowded, condensed; Latin: spissus) in the music theory of Antiquity is a structural property of any tetrachord in which a composite of two smaller intervals is less than the remaining (incomposite) interval.
The word limma or leimma (from Greek: λείμμα, leimma; meaning "remnant") can refer to several different musical intervals, and one form of breath-mark to indicate spacing within lyrics; their only common property is that all are very small either in pitch difference or in time.
The semitone appeared in the music theory of Greek antiquity as part of a diatonic or chromatic tetrachord, and it has always had a place in the diatonic scales of Western music since. The various modal scales of medieval music theory were all based upon this diatonic pattern of tones and semitones.
The fact that τόνος itself has at least four distinct meanings in Greek theory of music contributes to the uncertainty of the exact meaning and derivation of διατονικός, even among ancient writers: τόνος may refer to a pitch, an interval, a "key" or register of the voice, or a mode.
For example, the hexachord beginning on C and rising to A, named hexachordum naturale, has its only semitone between the notes E and F, and stops short of the note B or B ♭. A melody moving a semitone higher than la (namely, from A to the B ♭ above) required changing the la to mi, so that the required B ♭ becomes fa.
While the diatonic modes have two and three tones on either side of each semitone, the heptatonia secunda modes have one and four. These are sometimes called modes of the melodic ascending minor since that is the most commonly used scale of this type, but other modes can be produced by starting on the different scale notes in turn.
An incomposite interval (Ancient Greek: διάστημα ἀσύνθετον; German: ungeteilte Intervall, einfache Intervall) is a concept in the Ancient Greek theory of music concerning melodic musical intervals (Ancient Greek: διαστημάτων) between neighbouring notes in a tetrachord or scale which, for that reason, do not encompass smaller intervals.