In music theory, a diatonic scale is any heptatonic scale that includes five whole steps and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps, depending on their position in the scale. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally separated from each other.
In music theory, the term mode or modus is used in a number of distinct senses, depending on context.
C or Do is the first note of the C major scale, the third note of the A minor scale, and the fourth note of the Guidonian hand, commonly pitched around 261.63 Hz. The actual frequency has depended on historical pitch standards, and for transposing instruments a distinction is made between written and sounding or concert pitch. It has enharmonic equivalents of B♯ and D.
A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic, and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales.
In music, the subtonic is the degree of a musical scale which is a whole step below the tonic note. In a major key, it is a lowered, or flattened, seventh scale degree. It appears as the seventh scale degree in the natural minor and descending melodic minor scales but not in the major scale. In major keys, the subtonic sometimes appears in borrowed chords. In the movable do solfège system, the subtonic note is sung as te.
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode.
In music, the Phrygian dominant scale is the fifth mode of the harmonic minor scale, the fifth being the dominant. Also called the altered Phrygian scale, dominant flat 2 flat 6, or Freygish scale. It resembles the Phrygian mode but with a major third, rather than a minor third.
B, also known as Si, Ti, or, in some European countries, H, is the seventh note and the twelfth semitone of the fixed-Do solfège. Its enharmonic equivalents are C♭ (C-flat) and A.
Baião is a Northeastern Brazilian music genre and dance style based on a syncopated duple meter rhythm, based around the pulse of the zabumba, a flat, double-headed bass drum played with a mallet in one hand and a stick in the other, each striking the opposite head of the drum for alternating high and low notes, frequently accompanied by an accordion and a triangle pattern. The baião rhythm is integral to the genres of forró, repente and coco. It is mostly associated with the state of Pernambuco. Baião was popularized via radio in the 1940s, reaching peak popularity in the 1950s.
A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include:
Pitch axis theory refers to a way of thinking about chord progressions and modes, that was heavily used and popularized by the guitarist Joe Satriani.
In music, the acoustic scale, overtone scale, Lydian dominant scale, or the Mixolydian ♯4 scale is a seven-note synthetic scale. It is the fourth mode of the ascending melodic minor scale.
In music, the major Locrian scale, also called the Locrian major scale, is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G♭ A♭ B♭. It can be described as a whole tone scale extending from G♭ to E, with F introduced within the diminished third interval from E to G♭. The scale therefore shares with the Locrian mode the property of having a diminished fifth above the tonic.
Bebop scale is a term referring to the practice of adding a note to any common seven tone scale in order to make it an eight tone scale. Having eight notes enables the primary chord tones to continuously fall on the on-beats when the scale is played sequentially. This is unlike common seven note scales in which the chord tones do not all naturally fall on the on-beats due to an odd number of notes. These bebop scales are frequently used in jazz improvisation. Jazz educator David Baker nicknamed these scales the "bebop scales" because they were used often by jazz artists from the Bebop Era. These artists include Charlie Christian, Charlie Parker, Bud Powell, and Dizzy Gillespie, to name a few.
E is the third note and the fifth semitone of the C major scale, and mi in fixed-do solfège. It has enharmonic equivalents of F♭ [(F-flat) which is by definition a diatonic semitone above E♭] and D, amongst others.
F is a musical note, the fourth above C or fifth below C. It is the fourth note and the sixth semitone of the solfège. It is also known as fa in fixed-do solfège. It has enharmonic equivalents of E♯ (E-sharp) and G, amongst others.
F♯ is the seventh semitone of the solfège.
The chord-scale system is a method of matching, from a list of possible chords, a list of possible scales. The system has been widely used since the 1970s.
Gaelic folk music or Gaelic traditional music is the folk music of Goidelic-speaking communities in Ireland, Scotland, and the Isle of Man, often including lyrics in those languages. Characteristic forms of Gaelic music include sean-nós and puirt à beul singing, piobaireachd, jigs, reels, and strathspeys.
The term „Marktsackpfeife“ commonly refers to a type of bagpipe which has been developed in East Germany at the beginning of 1980s for the specific purpose to be played at faires and markets as a modern interpretation of a certain type of Medieval bapipes. Depictions of such bagpipes are found in Medieval sources and are characterized by specific features like wide flaring bells atop the chanter and drones, apparent conical shape of the chanter and reportedly substantial volume of their sound. Since no actual chanters of this type of bagpipe have survived and/or have been recovered so far, the MSP has to be classified as a purely modern musical instrument having a historically informed exterior. MSP chanters typically use double reeds made of plastic or Arundo donax cane and drones usually work with single reeds made of same materials. Chanter bores are conical with a pronounced flare at the end as they transition into the bell.
