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Other types of harmony are based upon the intervals of the chords used in that harmony. Most chords in western music are based on "tertian" harmony, or chords built with the interval of thirds. In the chord C Major7, C–E is a major third; E–G is a minor third; and G to B is a major third.
In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". [2] A harmonized scale can be created by using each note of a musical scale as a root note for a chord and then by taking other tones within the scale building the rest of a chord. [3]
His theoretical writings cover many topics, including musical logic, [1] notation, [2] harmony, [3] melody, [4] phraseology, [5] the history of music theory, [6] etc. More particularly, the term Riemannian theory often refers to his theory of harmony, characterized mainly by its dualism and by a concept of harmonic functions.
When diatonic harmony is understood in this sense, the supposed term chromatic harmony means little, because chromatic chords are also used in that same system. At other times, especially in textbooks and syllabuses for musical composition or music theory, diatonic harmony means harmony that uses only "diatonic chords".
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 music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.
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, limits or harmonic limits are a way of characterizing the harmony found in a piece or genre of music, or the harmonies that can be made using a particular scale. The term limit was introduced by Harry Partch, [1] who used it to give an upper bound on the complexity of harmony; hence the name.