A time signature is a convention in Western music notation that specifies how many note values of a particular type are contained in each measure (bar). The time signature indicates the meter of a musical movement.
The 12-bar blues is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire".
In a musical composition, a chord progression or harmonic progression is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music styles, traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built.
Bassline is the term used in many styles of music, such as blues, jazz, funk, dub and electronic, traditional, and classical music, for the low-pitched instrumental part or line played by a rhythm section instrument such as the electric bass, double bass, cello, tuba or keyboard.
In music, especially folk and popular music, a matrix is an element of variations which does not change. The term was derived from use in musical writings and from Arthur Koestler's The Act of Creation, who defines creativity as the bisociation of two sets of ideas or matrices. Musical matrices may be combined in any number, usually more than two, and may be — and must be for analysis — broken down into smaller ones. They are not necessarily intended by the composer or perceived by the listener, and they may be purposefully ambiguous.
Thomas Morley was an English composer, theorist, singer and organist of the Renaissance. He was one of the foremost members of the English Madrigal School. Referring to the strong Italian influence on the English madrigal, The New Grove Dictionary of Music and Musicians states that Morley was "chiefly responsible for grafting the Italian shoot on to the native stock and initiating the curiously brief but brilliant flowering of the madrigal that constitutes one of the most colourful episodes in the history of English music."
The fuguing tune is a variety of Anglo-American vernacular choral music. Fuguing tunes form a significant number of the songs found in the American Sacred Harp singing tradition. They first flourished in the mid-18th century and continue to be composed today.
Thomas Tomkins was a Welsh-born composer of the late Tudor and early Stuart period. In addition to being one of the prominent members of the English Madrigal School, he was a skilled composer of keyboard and consort music, and the last member of the English virginalist school.
In folk music a tune-family is, "a seeming multiplicity of melodies," reducible, "to a small number of 'models' or sets." One can think of the models or sets as deep structures. Often, "different tunes are the same," and, "the same tune is different."
A modal frame in music is "a number of types permeating and unifying African, European, and American song" and melody. It may also be called a melodic mode. "Mode" and "frame" are used interchangeably in this context without reference to scalar or rhythmic modes. Melodic modes define and generate melodies that are not determined by harmony, but purely by melody. A note frame, is a melodic mode that is atonic, or has an unstable tonic.
The ragtime progression is a chord progression characterized by a chain of secondary dominants following the circle of fifths, named for its popularity in the ragtime genre, despite being much older. Also typical of parlour music, its use originated in classical music and later spread to American folk music. Growing, "by a process of gradual accretion. First the dominant chord acquired its own dominant...This then acquired its dominant, which in turn acquired yet another dominant, giving":
The passamezzo antico is a ground bass or chord progression that was popular during the Italian Renaissance and known throughout Europe in the 16th century. The progression is a variant of the double tonic: its major mode variant is known as the passamezzo moderno.
A double tonic is a chord progression, melodic motion, or shift of level consisting of a "regular back-and-forth motion" in melody similar to Bruno Nettl's pendulum type though it uses small intervals, most often a whole tone though may be almost a semitone to a minor third.
A level, also "tonality level", Gerhard Kubik's "tonal step," "tonal block," and John Blacking's "root progression," is an important melodic and harmonic progression where melodic material shifts between a whole tone above and a whole tone below the tonal center. This shift can occur to both neighboring notes, in either direction, and from any point of departure. The steps above and below the tonic are often called contrasting steps. A new harmonic segment is created which then changes the tonality but not necessarily the key.
The Andalusian cadence is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise – a iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode (minor). It is otherwise known as the minor descending tetrachord. Traceable back to the Renaissance, its effective sonorities made it one of the most popular progressions in classical music.
Robert White probably born in Holborn, a district of London, was an English composer whose liturgical music to Latin texts is considered particularly fine. His surviving works include a setting of verses from Lamentations, and instrumental music for viols.
William Mundy was a Renaissance English composer of sacred music and father of composer John Mundy. Over four hundred years after his death, William Mundy's music is still performed and recorded.
The ii–V–I progression is a common cadential chord progression used in a wide variety of music genres, including jazz harmony. It is a succession of chords whose roots descend in fifths from the second degree (supertonic) to the fifth degree (dominant), and finally to the tonic. In a major key, the supertonic triad (ii) is minor, and in a minor key it is diminished. The dominant is, in its normal form, a major triad and commonly a dominant seventh chord. With the addition of chord alterations, substitutions, and extensions, limitless variations exist on this simple formula.
The '50s progression is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is: I–vi–IV–V. For example, in C major: C–Am–F–G. As the name implies, it was common in the 1950s and early 1960s and is particularly associated with doo-wop. The first popular song to use the progression was Blue Moon, written in 1934. This inspired Heart and Soul in 1938.
In music and musical analysis, a subsidiary chord is an elaboration of a principal harmonic chord in a chord progression.
