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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 ...
The notes of the central tetrachord of the system in ascending order are hypate, parhypate, lichanos (or hypermese), and mese. A second tetrachord is added above, after a disjunctive tone, and the corresponding names (together with the interval ratios of the standing tones) are: [6] mese (4:3) – nete (2:1) (standing) lichanos – paranete ...
Tetrachord Note order Step to next note (Number of steps) Note name starting from Rast [1] Rast pentachord: Rast tetrachord: 1 T (9) Rast 2 K (8) Dügâh 3 S (5) Segâh 4 T (9) (Only for pentachord) Çârgâh - 5 - Neva
Trump’s decision to inject himself into the budget debate a month before his inauguration foreshadowed that his second term will […] What Trump’s decision to wade into spending fight tells ...
[citation needed] The president's ability to indefinitely reject congressionally approved spending was thus removed. [2] The Impoundment Control Act of 1974 provides that the president may propose rescission of specific funds, but that rescission must be approved by both the House of Representatives and Senate within 45 days. In effect, the ...
In Turkish classical music, the Uşşak pitch class set is a set of scales that are named after the Uşşak or Hüseynî makams.For Uşşak, there is the Uşşak tetrachord and the Hüseynî pentachord.
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.
Makam Rast ascending in 53-TET. Rast is the implementation of the Rast scale in Turkish makam music.It is in 53 Tone Equal Temperament.. Rauf Yekta Bey's model places the Rast Makam as the gamme naturale of Turkish Classical Music and centers the theoretical approach around it. [1]