This progression can be understood as a shuttle between i and ♭VI, with the intermediate ♭VIIs acting as passing chords. This progression, especially with a major I chord, is often associated with heroic themes in video games and movies. Very frequently, the i chord is altered to be major, yielding a sequence of three major chords related by steps in the same direction. This scale can also be found by playing the white notes of the piano starting on A. aeolianĪ diatonic mode that follows the pattern W–H–W–W–H–W–W. Also called a "tendency tone." additive rhythmĪ compositional device that begins with a small rhythmic unit and gradually adds length to the durations. In tonal music, a note that has a tendency to move to a specific note in the following chord, usually a step up or down. acoustic collectionĪ seven-note collection similar to the mixolydian mode but with fi (↑4̂) corresponds roughly to the lowest partials of the harmonic series. accidentalĪ symbol that alters a pitch, such as the sharp (♯), flat (♭), and natural (♮) symbols. Depending on size, contour, and playing technique, these can produce a variety of crashing, splashing, sizzling, and barking sounds. Some have shapes and contours unlike other cymbals or are augmented with rivets or large holes. accent cymbalsĬymbals ranging in size (6–18” diameters are common) and thickness. ![]() accelerandoĪ gradual increase in speed (tempo). 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. Occurs when 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 final phrase may or may not end with a turnaround. Typically composed of four 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). Typically comprises three phrases of four bars each. Two or more different ways of hearing the music's metrical structure presented at once, for example with a consistent pattern of conflicting rhythms 12-bar blues progression
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