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Jean-Claude Risset achieved the same effect using gliding tones instead, so that a single tone appeared to glide up or down endlessly in pitch. [3] Circularity effects based on this principle have been produced in orchestral music and electronic music, by having multiple instruments playing simultaneously in different octaves.
In music theory, pitch-class space is the circular space representing all the notes (pitch classes) in a musical octave. In this space, there is no distinction between tones separated by an integral number of octaves. For example, C4, C5, and C6, though different pitches, are represented by the same point in pitch class space.
The circular pitch class space is an example of a pitch space. The circle of fifths is another example of pitch space. In music theory, pitch spaces model relationships between pitches. These models typically use distance to model the degree of relatedness, with closely related pitches placed near one another, and less closely related pitches ...
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
In music theory, the circle of fifths (sometimes also cycle of fifths) is a way of organizing pitches as a sequence of perfect fifths. Starting on a C, and using the standard system of tuning for Western music (12-tone equal temperament), the sequence is: C, G, D, A, E, B, F ♯ /G ♭, C ♯ /D ♭, G ♯ /A ♭, D ♯ /E ♭, A ♯ /B ♭, F ...
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 ...
The fundamental concept of musical set theory is the (musical) set, which is an unordered collection of pitch classes. [4] More exactly, a pitch-class set is a numerical representation consisting of distinct integers (i.e., without duplicates). [5]
More generally, a musical permutation is any reordering of the prime form of an ordered set of pitch classes [7] or, with respect to twelve-tone rows, any ordering at all of the set consisting of the integers modulo 12. [8] In that regard, a musical permutation is a combinatorial permutation from mathematics as it applies to music.