Synonymer & Anagram | Engelska ordet QUARTAL

Exempel på hur man kan använda QUARTAL i en mening

• It is also a quartal (based on an ascendance of one or more perfect fourths) tertian interval, as opposed to the major third's quintality.
• chords of stacked fourths) may not be amenable to the concept of root, although in practice, in a lead sheet, the composer may specify that a quartal chord has a certain root (e.
• Tertian harmony (also called tertiary harmony) principally uses chords based on thirds; the term is typically used to contrast with quartal and quintal harmony which uses chords based on fourths or fifths.
• The sus2 and sus4 chords both have inversions that create quartal and quintal chords (A–D–G, G–D–A) with two stacked perfect fourths or perfect fifths.
• This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths.
• The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.
• Bauer's music includes dissonance and extended tertian, quartal, and quintal harmonies, though it rarely goes outside the bounds of extended tonality, save for her brief experimentation with serialism in the 1940s.
• Her style was predominantly romantic and impressionistic, though more experimental material, including electronics, bitonal and quartal harmonies, unusual scales, serialism, and tone clusters, became more common from the 1960s.
• More modern sounding than "tertial chords" (built from thirds), it is useful in comping; since the structure of quartal harmony is usually vague, many roots may be applied to the So What chord and it may work well in various contexts including, "a major scale context; a Mixolydian mode context; or a minor context".
• His works are characterized by the employment of medieval elements such as Gregorian chant, modal scales, and fauxbourdon which he combined with quintal and quartal harmonies and 20th-century polyphonic linear, sometimes atonal writing similar to that of Paul Hindemith.
• The term can be used to describe the music of composers who combine multiple styles of composition; an example would be a composer using a whole tone scale variant of a folk song in a pentatonic scale over a chromatic counterpoint, or a tertian arpeggiating melody over quartal or secundal harmonies.
• Aside from serialism, other forms of compositional technique arose such as those based on chords utilizing fourths rather than the more traditional thirds (see quartal and quintal harmony and Synthetic chord), those based on other mathematical processes (see Schillinger System) and those based on specific scales (or "modes": see hexatonic scale, Heptatonic scale, Octatonic scale and Synthetic scale).
• Despite a fair amount of high tessitura playing, especially for the first trumpet, the work is, in general, comfortably written, and filled with the coloration of quartal and polyharmonies that are surefire staples of brass writing.
• Instead, one finds chromatic chords, polytonality, clusters, passing notes ascending or descending chromatically and a peculiar use of quartal harmonies or mirror chords combined with edgy rhythms.

• From jazz came a harmonic vocabulary based on extended harmonies of altered and unaltered ninths, elevenths and thirteenths, as well as quartal harmony—chords built on fourths.

• His teachers Joe Diorio, Scott Henderson, Don Mock, Jeff Berlin, Jennifer Batten, Gary Willis, Howard Roberts, Jamie Findlay, Jeff Richman, Mike Miller, Peter Sprague, Ron Eschéte, Steve Trovato and Tommy Tedesco, particularly influenced his musical style, which is characterized by the use of complex rhythmic, harmonic and melodic textures, such as odd and mixed time signature, quartal harmonies and modal scales, as well as for the application of techniques such as the dispersion of the octave, the chromatic passages, the extended intervals, the superimposed scales, the string skipping and other.

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