This scale can also be found by playing the white notes of the piano starting on A. One of many symbols (the sharp (♯), flat (♭), and natural (♮) among others) that alter a pitch acousticsĪ diatonic mode that follows the pattern WHWWHWW. accelerandoĪ stress or emphasis on a note accidental For example, "absolute pitch" refers to the phenomenon of being able to sing a pitch without referencing an instrument or another pitch. absoluteĮxisting on its own, without reference to another system. The tonic is never actually sounded as a harmony during the song, but is still implied through the melody or through the use of conventional harmonic progressions. AABA forms typically then include another repetition of BA, making the entire form AABABA. It begins by repeating two strophes, moving to a contrasting bridge section, and then repeating the primary strophe again. The first part in a pair of imitative voices (compare comes). The final phrase may or may not end with a turnaround. Composed of four (typically) four-bar phrases, usually two iterations of tonic, followed by subdominant and dominant. 16-bar blues progressionĪ variation on the 12-bar blues progression. The third phrase may or may not end with a turnaround. The final phrase begins with one bar of dominant (V) followed by one bar of subdominant (IV) and two bars of tonic (I).
The second phrase contains two bars of subdominant (IV) and two bars of tonic (I). The first phrase is entirely tonic harmony (I). 12-bar blues progressionĬomprised of three (typically) four-bar phrases. (Fugal) SubjectĪ short tune which forms the melodic basis of a fugue, recurring throughout. The first part of a fugue, during which each of the voices enter with the subject or answer.
Two parts begin any interval apart and move in the same direction to a perfect fifth or octave.
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