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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.
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 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 English word diatonic is ultimately from the Ancient Greek: διατονικός, romanized: diatonikós, itself from διάτονος, diátonos, of disputed etymology. Most plausibly, it refers to the intervals being "stretched out" in that tuning, in contrast to the other two tunings, whose lower two intervals were referred to as ...
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 central octave of the ancient Greek system. The earliest Greek scales were organized in tetrachords, which were series of four descending tones, with the top and bottom tones being separated by an interval of a fourth, in modern terms. The sub-intervals of the tetrachord were unequal, with the largest intervals always at the top, and the ...
Namely, the apotome (about 113.69 cents, e.g. from C to C ♯) is the chromatic semitone, or augmented unison (A1), while the limma (about 90.23 cents, e.g. from C to D ♭) is the diatonic semitone, or minor second (m2). A ditone (or major third) is an interval formed by two major tones. In Pythagorean tuning, a major tone has a size of about ...