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Ladder Of Thirds
A modal frame in music is "a number of types permeating and unifying African, European, and American song" and melody., quoted in Richard Middleton (1990/2002). ''Studying Popular Music'', p. 203. Philadelphia: Open University Press. . 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 (without a tonic), or has an unstable tonic. Modal frames may be defined by their: *floor note: the bottom of the frame, felt to be the lowest note, though isolated notes may go lower, *ceiling note: the top of the frame, *central note: the center around which other notes cluster or gravitate, *upper or lower focus: portion of the mode on which the melody temporarily dwells, and can also defined by melody types, such as: ** chant tunes: (Bob Dylan's " S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modal Logic
Modal logic is a kind of logic used to represent statements about Modality (natural language), necessity and possibility. In philosophy and related fields it is used as a tool for understanding concepts such as knowledge, obligation, and causality, causation. For instance, in epistemic modal logic, the well-formed_formula, formula \Box P can be used to represent the statement that P is known. In deontic modal logic, that same formula can represent that P is a moral obligation. Modal logic considers the inferences that modal statements give rise to. For instance, most epistemic modal logics treat the formula \Box P \rightarrow P as a Tautology_(logic), tautology, representing the principle that only true statements can count as knowledge. However, this formula is not a tautology in deontic modal logic, since what ought to be true can be false. Modal logics are formal systems that include unary operation, unary operators such as \Diamond and \Box, representing possibility and necessi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Hucklebuck
"The Hucklebuck" (sometimes written "The Huckle-Buck") is a jazz and R&B dance tune first popularized by Paul Williams and His Hucklebuckers in 1949. The composition of the tune was credited to Andy Gibson, and lyrics were later added by Roy Alfred. The song became a crossover hit and a dance craze, in many ways foreshadowing the popular success of rock and roll a few years later. It was successfully recorded by many other musicians including Lucky Millinder, Roy Milton, Tommy Dorsey, Frank Sinatra, Lionel Hampton, Louis Armstrong, Chubby Checker, Bo Diddley, Otis Redding, Quincy Jones, Canned Heat, Coast to Coast, Brendan Bowyer and Crystal Swing. Original recordings The tune, structured around a twelve-bar blues progression, was originally recorded by Paul Williams and his band, credited as His Hucklebuckers, in New York City, on December 15, 1948, with producer Teddy Reig. The composition was credited to Andy Gibson, and the recording was released by Savoy Records. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neutral Third
A neutral third is a musical interval wider than a minor third but narrower than a major third , named by Jan Pieter Land in 1880. Land makes reference to the neutral third attributed to Zalzal (8th c.), described by Al-Farabi (10th c.) as corresponding to a ratio of 27:22 (354.5 cents) and by Avicenna (Ibn Sina, 11th c.) as 39:32 (342.5 cents). The Zalzalian third may have been a mobile interval. Three distinct intervals may be termed neutral thirds: * The ''undecimal neutral third'' has a ratio of 11:9 between the frequencies of the two tones, or about 347.41 cents . This ratio is the mathematical mediant of the major third 5/4 and the minor third 6/5, and as such, has the property that if harmonic notes of frequency ''f'' and (11/9) ''f'' are played together, the beat frequency of the 5th harmonic of the lower pitch against the 4th of the upper, i.e. , 5 f - 4 (11/9) f, = (1/9) f, is the same as the beat frequency of the 6th harmonic of the lower pitch against the 5th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Foundation Note
A level, van der Merwe, Peter (1989). ''Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music''. Oxford: Clarendon Press. . 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. Each level is based on one pitch, a foundation note. A melodic or harmonic-melodic third, triad ( fifth) (such as in the song "Shallow Brown"), or seventh (such as in the song "Donald MacGillavry") may be built off this foundation. A "change" in levels is called a shift. We see this in double-tonic tunes such as " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Level (music)
A level,Peter van der Merwe (musicologist), van der Merwe, Peter (1989). ''Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music''. Oxford: Clarendon Press. . also "tonality level", Gerhard Kubik's "tonal step," "tonal block," and John Blacking's "root (chord), 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. Each level is based on one pitch (music), pitch, a foundation note (music), note. A melody, melodic or harmony, harmonic-melodic Major third, third, triad (perfect fifth, fifth) (such as in the song "Shallow Brown"), or Major seventh, seventh (such as in the song "Donald ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accompaniment
Accompaniment is the musical part which provides the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music. In homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is supported by subordinate chords. In popular music and traditional music, the accompaniment parts typically provide the "beat" for the music and outline the chord progression of the song or instrumental piece. The accompaniment for a vocal melody or instrumental solo can be played by a single musician playing an instrument such as piano, pipe organ, or guitar. While any instrument can in theory be used as an accompaniment instrument, keyboard and guitar-family instruments tend to be used if there is only a single instrument, as these instruments can play chords and basslines simultaneously (chords and a bassline are easier to play sim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Note (music)
In music, notes are distinct and isolatable sounds that act as the most basic building blocks for nearly all of music. This discretization facilitates performance, comprehension, and analysis. Notes may be visually communicated by writing them in musical notation. Notes can distinguish the general pitch class or the specific pitch played by a pitched instrument. Although this article focuses on pitch, notes for unpitched percussion instruments distinguish between different percussion instruments (and/or different manners to sound them) instead of pitch. Note value expresses the relative duration of the note in time. Dynamics for a note indicate how loud to play them. Articulations may further indicate how performers should shape the attack and decay of the note and express fluctuations in a note's timbre and pitch. Notes may even distinguish the use of different extended techniques by using special symbols. The term ''note'' can refer to a specific musical event, for i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arpeggio
An arpeggio () is a type of Chord (music), chord in which the Musical note, notes that compose a chord are individually sounded in a progressive rising or descending order. Arpeggios on keyboard instruments may be called rolled chords. Arpeggios may include all notes of a musical scale, scale or a partial set of notes from a scale, but must contain notes of at least three Pitch (music), pitches (two-pitch sequences are known as Trill (music), trills). Arpeggios may sound notes within a single octave or span multiple octaves, and the notes may be sustained and overlap or be heard separately. An arpeggio for the chord of C major going up two octaves would be the notes (C, E, G, C, E, G, C). In musical notation, a very rapid arpeggiated chord may be written with a wavy vertical line in front of the chord. Typically these are read as to be played from the lowest to highest note, though composers may specify a high to low sequence by adding an arrow pointing down. Arpeggios ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ladder Of Thirds
A modal frame in music is "a number of types permeating and unifying African, European, and American song" and melody., quoted in Richard Middleton (1990/2002). ''Studying Popular Music'', p. 203. Philadelphia: Open University Press. . 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 (without a tonic), or has an unstable tonic. Modal frames may be defined by their: *floor note: the bottom of the frame, felt to be the lowest note, though isolated notes may go lower, *ceiling note: the top of the frame, *central note: the center around which other notes cluster or gravitate, *upper or lower focus: portion of the mode on which the melody temporarily dwells, and can also defined by melody types, such as: ** chant tunes: (Bob Dylan's " S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shout-and-fall
A modal frame in music is "a number of types permeating and unifying African, European, and American song" and melody., quoted in Richard Middleton (1990/2002). ''Studying Popular Music'', p. 203. Philadelphia: Open University Press. . 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 (without a tonic), or has an unstable tonic. Modal frames may be defined by their: *floor note: the bottom of the frame, felt to be the lowest note, though isolated notes may go lower, *ceiling note: the top of the frame, *central note: the center around which other notes cluster or gravitate, *upper or lower focus: portion of the mode on which the melody temporarily dwells, and can also defined by melody types, such as: **chant tunes: (Bob Dylan's " Subte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Motion
Melodic motion is the quality of movement of a melody, including nearness or farness of successive pitches or notes in a melody. This may be described as conjunct or disjunct, stepwise, skipwise or no movement, respectively. See also contrapuntal motion. In a conjunct melodic motion, the melodic phrase moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone, but no greater. In a disjunct melodic motion, the melodic phrase leaps upwards or downwards; this movement is greater than a whole tone. In popular Western music, a melodic leap of disjunct motion is often present in the chorus of a song, to distinguish it from the verses and captivate the audience. In traditional culture music Ethnomusicologist Bruno Nettl describes various types of melodic movement or contour to categorise a song's melody. There are three general categories, ''ascending'', ''descending'', and ''undulating'': *''Ascending'': Upwards melodic movement (only found in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hey Bo Diddley
"Hey! Bo Diddley" is Bo Diddley's eighth single released by Checker Records (not to be confused with the song "Bo Diddley") and was released as a single in April 1957 by Checker Records. The single's B side was " Mona" (later known as "I Need You Baby"). Recording "Hey! Bo Diddley" was recorded in Chicago on February 8, 1957 – the same day as "Mona". The song was produced by Diddley with Leonard and Phil Chess, and backing Diddley (vocals, guitar) were Jerome Green (maracas), and either Frank Kirkland or Clifton James (drums). The backing vocals on the song were Peggy Jones and the Flamingos. Rhythm Like many of Bo Diddley's songs (e.g. "Bo Diddley", Gunslinger, and " Pretty Thing") "Hey! Bo Diddley" features a Bo Diddley beat. Live versions The song was recorded either July 5 or 6 at Myrtle Beach, South Carolina and released on the 1964 live album, '' Bo Diddley's Beach Party'' with the Dutchess. The song was performed live with Ronnie Wood on '' Live at the Ritz'' in 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
