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In music theory, the minor scale is three scale patterns – the natural minor scale, the harmonic minor scale, and the melodic minor scale – rather than just two as with the major scale, which also has a harmonic form but lacks a melodic form.
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord.
Music theory is the study of the practices and possibilities of music. 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 ; the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built."
In music theory, the tritone is defined as a musical interval composed of three adjacent whole tones. For instance, the interval from F up to the B above it is a tritone as it can be decomposed into the three adjacent whole tones F–G, G–A, and A–B.
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A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root. When not otherwise specified, a "seventh chord" usually means a dominant seventh chord: a major triad together with a minor seventh. However, a variety of sevenths may be added to a variety of triads, resulting in many different types of seventh chords.
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords, or sequences of chord tones, may also be considered as chords in the right musical context.
In music from Western culture, a seventh is a musical interval encompassing seven staff positions, and the major seventh is one of two commonly occurring sevenths. It is qualified as major because it is the larger of the two. The major seventh spans eleven semitones, its smaller counterpart being the minor seventh, spanning ten semitones. For example, the interval from C to B is a major seventh, as the note B lies eleven semitones above C, and there are seven staff positions from C to B. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones.
The intervals from the tonic (keynote) in an upward direction to the second, to the third, to the sixth, and to the seventh scale degrees (of a major scale are called major.
In Western music and music theory, diminution has four distinct meanings. Diminution may be a form of embellishment in which a long note is divided into a series of shorter, usually melodic, values. Diminution may also be the compositional device where a melody, theme or motif is presented in shorter note-values than were previously used. Diminution is also the term for the proportional shortening of the value of individual note-shapes in mensural notation, either by coloration or by a sign of proportion. A minor or perfect interval that is narrowed by a chromatic semitone is a diminished interval, and the process may be referred to as diminution.
In music theory, the concept of root is the idea that a chord can be represented and named by one of its notes. It is linked to harmonic thinking—the idea that vertical aggregates of notes can form a single unit, a chord. It is in this sense that one speaks of a "C chord" or a "chord on C"—a chord built from C and of which the note C is the root. When a chord is referred to in Classical music or popular music without a reference to what type of chord it is, it is assumed a major triad, which for C contains the notes C, E and G. The root need not be the bass note, the lowest note of the chord: the concept of root is linked to that of the inversion of chords, which is derived from the notion of invertible counterpoint. In this concept, chords can be inverted while still retaining their root.
In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.
The ninth chord and its inversions exist today, or at least they can exist. The pupil will easily find examples in the literature [such as Schoenberg's Verklärte Nacht and Strauss's opera Salome]. It is not necessary to set up special laws for its treatment. If one wants to be careful, one will be able to use the laws that pertain to the seventh chords: that is, dissonances resolve by step downward, the root leaps a fourth upward.
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. Chromaticism is in contrast or addition to tonality or diatonicism and modality. Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".
Not only at the beginning of a composition but also in the midst of it, each scale-step [degree] manifests an irresistible urge to attain the value of the tonic for itself as that of the strongest scale-step. If the composer yields to this urge of the scale-step within the diatonic system of which this scale-step forms part, I call this process tonicalization and the phenomenon itself chromatic.
Chromaticism is almost by definition an alteration of, an interpolation in or deviation from this basic diatonic organization.
Throughout the nineteenth century, composers felt free to alter any or all chord members of a given tertian structure [chord built from thirds] according to their compositional needs and dictates. Pronounced or continuous chordal alteration [and 'extension'] resulted in chromaticism. Chromaticism, together with frequent modulations and an abundance of non-harmonicism [non-chord tones], initially effected an expansion of the tertian system; the overuse of the procedures late in the century forewarned the decline and near collapse [atonality] of the system [tonality].
Chromaticism is the name given to the use of tones outside the major or minor scales. Chromatic tones began to appear in music long before the common-practice period, and by the beginning of that period were an important part of its melodic and harmonic resources. Chromatic tones arise in music partly from inflection [alteration] of scale degrees in the major and minor modes, partly from secondary dominant harmony, from a special vocabulary of altered chords, and from certain nonharmonic tones... Notes outside the scale do not necessarily affect the tonality...tonality is established by the progression of roots and the tonal functions of the chords, even though the details of the music may contain all the tones of the chromatic scale.
Sometimes...a melody based on a regular diatonic scale is laced with many accidentals, and although all 12 tones of the chromatic scale may appear, the tonal characteristics of the diatonic scale are maintained. ... Chromaticism [is t]he introduction of some pitches of the chromatic scale into music that is basically diatonic in orientation, or music that is based on the chromatic scale instead of the diatonic scales.
The diminished seventh chord is a four-note chord composed of a root note, together with a minor third, a diminished fifth, and a diminished seventh above the root:. For example, the diminished seventh chord built on C, commonly written as Co7, has pitches C–E♭–G♭–B :
In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning. Most guitars used in popular music have six strings with the "standard" tuning of the Spanish classical guitar, namely E–A–D–G–B–E' ; in standard tuning, the intervals present among adjacent strings are perfect fourths except for the major third (G,B). Standard tuning requires four chord-shapes for the major triads.
In music theory, the harmonic major scale is a musical scale found in some music from the common practice era and now used occasionally, most often in jazz. In George Russell's Lydian Chromatic Concept it is the fifth mode (V) of the Lydian Diminished scale. It corresponds to the Raga Sarasangi in Indian Carnatic music.
Jazz piano is a collective term for the techniques pianists use when playing jazz. The piano has been an integral part of the jazz idiom since its inception, in both solo and ensemble settings. Its role is multifaceted due largely to the instrument's combined melodic and harmonic capabilities. For this reason it is an important tool of jazz musicians and composers for teaching and learning jazz theory and set arrangement, regardless of their main instrument. By extension the phrase 'jazz piano' can refer to similar techniques on any keyboard instrument.
In music theory, the half-diminished seventh chord is a seventh chord composed of a root note, together with a minor third, a diminished fifth, and a minor seventh. For example, the half-diminished seventh chord built on C, commonly written as Cm7(♭5), or Cø7, has pitches C–E♭–G♭–B♭:
Musical technique is the ability of instrumental and vocal musicians to exert optimal control of their instruments or vocal cords in order to produce the precise musical effects they desire. Improving one's technique generally entails practicing exercises that improve one's muscular sensitivity and agility. Technique is independent of musicality. Compositional technique is the ability and knowledge composers use to create music, and may be distinguished from instrumental or performance technique, which in classical music is used to realize compositions, but may also be used in musical improvisation. Extended techniques are distinguished from more simple and more common techniques. Musical technique may also be distinguished from music theory, in that performance is a practical matter, but study of music theory is often used to understand better and to improve techniques. Techniques such as intonation or timbre, articulation, and musical phrasing are nearly universal to all instruments.
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.
Musicians use various kinds of chord names and symbols in different contexts to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and its corresponding symbol typically indicate one or more of the following:
- the root note,
- the chord quality,
- whether the chord is a triad, seventh chord, or an extended chord,
- any altered notes,
- any added tones, and
- the bass note if it is not the root.
References
- Cailliet, Lucien (Date Not Known). Cailliet Method for saxophone (Book One) Rockville Centre, L.I., New York: Belwin Publications
- Cailliet, Lucien (Date Not Known). Cailliet Method for saxophone (Book Two) Rockville Centre, L.I., New York: Belwin Publications