Information om | Engelska ordet TETRACHORD

Exempel på hur man kan använda TETRACHORD i en mening

• Ptolemy, and later Boethius, ascribed the division of the tetrachord by only two intervals, called "semitonium" and "tonus" in Latin (256:243 × 9:8 × 9:8), to Eratosthenes.
• Modern music theory uses the octave as the basic unit for determining tuning, where ancient Greeks used the tetrachord.
• Although Japanese pop music changed from music based on Japanese pentatonic scale and distortional tetrachord to the more occidental music over time, music that drew from the traditional Japanese singing style remained popular (such as that of Ringo Shiina).
• In Greek music theory, the harmonia given this name was based on a tonos, in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone.
• A fugue based on the following subject, which contains (bars 2–3) the second tetrachord of the harmonic minor scale, the unifying motif of Beethoven's last string quartets:.
• According to the system of Aristoxenus and his followers—Cleonides, Bacchius, Gaudentius, Alypius, Bryennius, and Aristides Quintilianus—the paradigmatic tetrachord was bounded by the fixed tones hypate and mese, which are a perfect fourth apart and do not vary from one genus to another.
• Similar to the construction of maqamat noted above, a makam in Turkish music is built of a tetrachord built atop a pentachord, or vice versa.
• The slow introduction to the first movement, like that of the thirteenth quartet, is based on a motif that recurs throughout the late quartets and in the Große Fuge as well: the second tetrachord of the harmonic minor scale.
• According to Aristoxenus, this octave species was originally described around the year 400 BC by the Harmonicist school of Eratocles in terms of the enharmonic genus of the tetrachord: a series of rising intervals of two quarter tones followed by a ditone, together spanning a perfect fourth.
• The ecclesiastical Hypodorian mode was defined in two ways: (1) as the diatonic octave species from A to A, divided at the mode final D and composed of a lower tetrachord of tone–semitone–tone, ending on D, plus a pentachord tone–semitone–tone–tone continuing from D, and (2) as a mode whose final was D and whose ambitus was G–B (that is, with B below the final and B above it).
• A remarkable fact about tetrachords was noticed since the Ancient times and rediscovered in early Renaissance: when a tetrachord features a semitone (half-step) between two of its tones, it is the semitone that will determine the melodic tendency of the given tetrachord or mode (when combining tetrachords).
• as a phthora which has its proper melos (intonation and cadence formulas), it may denote a special kind of echos (mode) that has been identified with the echos tritos (third mode) since the 16th century, but deviates from the later diatonic echos tritos by the division of its tonal system and its tetrachord.
• According to Pöhlmann and West, an archaic pentatonic effect is produced in the lowest tetrachords by avoiding the lichanos, while above the mese there is modulation between a conjunct chromatic tetrachord (C D D F) and a disjunct diatonic one (D E F G), extended by two more chromatic notes, A and A.
• To convey this, she sings the lament "Atys est trop heureux" based on the diatonically descending tetrachord model (in this case in D minor: D-C-Bb-A) that had been established by Claudio Monteverdi in his Lament of the Nymph.
• Historically, however, it had other senses, referring in Ancient Greek music theory to a particular tuning of the tetrachord, and to a rhythmic notational convention in mensural music of the 14th to 16th centuries.
• Because most uses of these Ajam trichords place the next (fourth) scale step a halfstep above the last (third) scale step of the Ajam trichord, the result is essentially the same as the "whole step—whole step—half step" tetrachord construction of the Western major scale, and thus the maqam Ajam sounds generally the same as the major scale in Western music.
• In most cases, a jins is made up of four consecutive notes (tetrachord), although ajnas of three consecutive notes (trichord) or five consecutive notes (pentachord) also exist.
• To bridge the inconsistency of the diazeuxis, the system allowed moving the nete one step up, permitting the construction of the Synemmenon ('conjunct') tetrachord, shown at the far left of the diagram.
• Since the tetrachord beginning on the tonic may ascend or descend with either G-sharp or natural (Phrygian tetrachord), the mixed-thirds clash between the major third degree (G) in the melody and the minor third degree (G) in the accompanying harmony occurs frequently and is characteristic of the flamenco esthetic, as with the blues scale on a major chord.
• whenever a melody transposes to a different tetrachord, the ison is likely to jump to the base note of this tetrachord, either up or down.

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