In music theory, the scale is a set of musical notes that are sorted by basic frequency or tone. The scale that is ranked by increasing the tone is the ascending scale, and the scale that is ranked by lowering the tone is the scale down. Some scales contain different notes when up compared when downhill, for example, minor scale melodies.
Often, especially in the context of a period of general practice, most or all melodies and harmonies of musical works are constructed using a single-scale tone, which can easily be represented on staff with standard key marks.
Because of the principle of octave equivalence, the scale is generally considered to include an octave, with a higher or lower octave simply repeating the pattern. The musical scale represents the octave space division into a certain number of scale steps, step scale is the recognizable distance (or interval) between two consecutive scale records. However, scale measures need not be the same on any scale and, especially as demonstrated by microtonal music, there is no limit to how many records can be injected within a certain musical interval.
The size of the width of each step scale provides a method for classifying the scale. For example, on a chromatic scale each step of scale represents a semitone interval, while the major scale is defined by the T-T-T-T-T-S interval pattern, where T stands for the overall tone (interval covering two semitones), and S stands for semitone. Based on the interval pattern, the scales are incorporated into categories including diatonic, chromatic, major, minor, and others.
The particular scale is determined by the pattern of characteristic intervals and with a special note, known as the first degree (or tonic). Tonic scales are the records chosen as the starting octave, and therefore as the beginning of the interval pattern adopted. Typically, the scale name determines both the tonic and the interval pattern. For example, C major shows a large scale with tonic C.
Video Scale (music)
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Scales are usually listed from low to high. Most scales are octave-recurring , which means their note patterns are the same in every octave (Bohlen-Pierce scale is one exception). The octave-recurring scale can be represented as a circular arrangement of the pitch class, ordered by an increase (or decrease) of the pitch class. For example, the C major scale increase is CDEFGAB- [C], with parentheses indicating that the last note is an octave higher than the first note, and the C major scale decreases is CBAGFED- [C], with parentheses indicating lower octaves than first note in scale.
The distance between two consecutive notes in scale is called step scale.
The scale tone is measured by their steps from the root of the scale. For example, in C major scale, first note is C, second D, third E, and so on. Two records can also be numbered in relation to each other: C and E make an interval of one-third (in this case a great third); D and F also make the third (in this case a minor third).
Pitch
Single scale can be manifested at different levels of tone. For example, C major scale can start at C4 (middle C; see scientific notation notation) and go up one octave to C5; or it can start in C6, up one octave to C7. As long as all tones can be played, the octaves they take can be changed.
Scale type
The scales can be explained according to the number of different pitch classes they contain:
- Chromatic, or dodecatonic (12 notes per octave)
- Octatonic (8 notes per octave): used in modern jazz and classical music
- Heptathonic (7 records per octave): the most common modern Western scale
- Hexatonic (6 notes per octave): common in Western folk music
- Pentatonist (5 tones per octave): anhemitonic form (less semitone) is common in folk music, especially in oriental music; also known as the "black note" scale
- Tetratonic (4 notes), tritonic (3 notes), and ditonic (2 records): generally limited to prehistoric music ("primitive")
- Monotonic (1 note): limited use in liturgy, and for effects in the art of modern music
Scale can also be explained by their constituent intervals, such as being hemitonic, cohemitonic, or having imperfections. Many musical theorists agree that scale constituent intervals have a major role in cognitive perception of their independence, or tonal character.
"The number of notes that make up the scale as well as the quality of the intervals between consecutive notes of scale helps give the music a distinct cultural quality of sound." "The pitch distance or interval between the scale tones tells us more about the sound of music than just the number of notes."
The scales can also be explained by their symmetry, such as palindromic, chiral, or have rotational symmetry as in the limited transposition mode by Messaien.
Scale can also be explained by their distribution patterns and possibilities for notation. For example, the heliotonic scale is one that can be denoted by a single head note on each row and space, using only single and double changes (flat, double-flat, sharp, and double sharps). So all heliotonic scales are heptatonic, but not all heptatonic scales are heliotonic. Because heliotonia is a metric pattern of tone scale distribution, related to flatness, coherence, spectral variation, and Myhill Property.
Harmonic content
The tone of an interval scaled form with each of the other notes of the chord in combination. The 5-note scale has 10 harmonic intervals, the 6-note scale has a 15, 7-note scale has 21, the 8-note scale has 28. Although the scale is not a chord, and probably never sounds more than one note at a time, still the absence, presence, and placement of certain key intervals plays a large part in the sound of scale, the natural movement of melodies in scale, and the selection of chords taken naturally from the scale.
Tritone-containing music scales are called tritonic (although this expression is also used for any scale with just three tones per octave, whether or not it includes tritone), and one without tritone is atritonic . Semitone-containing scales or chords are called hemitonic, and without semitones are anhemitonic.
Scales in composition
The scale can be abstracted from performance or composition. They are also often used precompositional to guide or limit a composition. Explicit instruction in scale has been part of composition training for centuries. One or more scales can be used in a composition, as in Claude Debussy's L'Isle Joyeuse . To the right, the first scale is the overall tone scale, while the second and third scales are diatonic scales. All three are used in the Debussy release page.
Maps Scale (music)
Western Music
The scales in Western traditional music generally consist of seven tones and are repeated on the octave. Notes on a commonly used scale (see below) are separated by a half-step interval of tone and semitone. The harmonic small scale includes a three-semitone step; Anemitonic pentatonic includes two of them and no semitones.
Western music in the period of the Middle Ages and Renaissance (1100-1600) tends to use the white-note C-D-E-F-G-A-B diatonic scale. Accidents are rare, and somewhat unsystematic in use, often to avoid tritone.
Music general practice period (1600-1900) using three types of scales:
- Diatonic scale (seven notes) - this includes natural major and minor scales
- Minor melody and harmonic scale (seven notes)
This scale is used in all their transpositions. The music of this period introduces modulation, which involves systematic changes from one scale to another. Modulation occurs in a relatively conventional way. For example, major-mode pieces usually begin in a "tonic" diatonic scale and modulate to the "dominant" scale of a fifth above.
In the 19th century (to some extent), but rather in the 20th century, additional scale types were explored:
- Chromatic scale (twelve notes)
- Overall tone scale (six notes)
- Pentatonic scale (five tones)
- Weight octatonic or decreased (eight tones)
Various other scales exist, some of the more common creatures:
- Phrygian dominant scale (harmonic minor scale mode)
- Arabic scale
- Hungarian minor scale
- Byzantine music scale (called echoi)
- Persian Scale
Scales such as the pentatonic scale can be considered gapped relative to the diatonic scale. Additional scale additional is a scale other than the main or original scale. View: modulation (music) and Auxiliary reduced scale.
Notice the name
In many musical situations, the special note of this scale is chosen as the tonic - the most important and most stable scale record. In Western tonal music, simple songs or pieces usually start and end in a tonic note. With respect to certain tonic options, scale notes are often labeled with numbers that record how many step scales above their tonic. For example, C major scale records (C, D, E, F, G, A, B) may be labeled {1, 2, 3, 4, 5, 6, 7}, reflecting the C option as Tonic. The degree of expression scale refers to this numerical label. Such labeling requires the choice of a "first" note; the scale-degree label is not intrinsic to the scale itself, but rather to its mode. For example, if we choose A as a tonic, then we can label the C major scale using A = 1, B = 2, C = 3, and so on. When we do, we create a new scale called the minor scale. See the block notes for how they are customarily named in different countries.
The scale scale of heptatonik (7-note) scale can also be named using tonic, supertonic, intermediary, sub dominant, dominant, submediant, subtonic. If subtonics are semitones away from tonics, they are usually called leading-tones (or leading-notes); on the other hand the main note refers to the resulting subtonic. Also commonly used is the "moving" naming convention in which every degree of scale is denoted by syllables. On a large scale, the syllable solfÃÆ'¨ge is: do, re, mi, fa, so (or sol), la, ti (or si), do (or ut).
In naming scale records, it is common that every degree of scale is given its own font name: for example, the major scale is written ABC ? -DEF ? -G ? than ABD ? - DEE -G ? . However, it is not possible to do this on a scale containing more than seven records, at least in the English nomenclature system.
Scales can also be identified by using a binary system of twelve zeros or one to represent each of the twelve tones of the chromatic scale. It is assumed that the scale is set using the same 12-tone temperament (so, for example, C ? equals D ? ), and that the tonic is in the leftmost position. For example, a binary number 101011010101, equivalent to a decimal number 2773, would represent any large scale (such as C-D-E-F-G-A-B). The system covers a scale of 100000000000 (2048) to 111111111111 (4095), providing a total of 2048 possible species, but only 351 unique scales containing from 1 to 12 records.
A more mathematical and flexible scheme for binary representation, embraced by Ian Ring's theorist in his study of the musical scale, has bits representing rising tones, with smaller bits representing lower tones and higher bits representing more tones high. This causes the bits to appear inversely compared to Duncan's system. Under this scheme, the major scale is 101010110101 = (2741), one root note is 1, and the chromatic scale is still 111111111111 (4095). All possible tones that start with the root tone, and thus such a scale, odd numbered.
Scales can also be displayed as semitones of tonics. For example, 0 2 4 5 7 9 11 shows a large scale such as CDEFGAB, where the first level is a clear, 0 semitone of the tonic (and therefore coincides with it), the second is 2 semitones of the tonic, the third is 4 semitones of tonics, and so on. Again, this implies that the note is taken from a chromatic scale tuned to the same 12-tone temperament. For some anxious string instruments, such as guitar and bass guitar, the scales can be denoted in tabulature, an approach that shows the fret and string numbers in which each degree of scale is played.
Transposition and modulation
The composer changes the musical pattern by moving each tone in a pattern with a number of constant-scale steps: thus, in C major scale, the C-D-E pattern can be moved up, or diverted, a single-step step into D-E-F. This process is called "scalar transposition" or "switch to new key" and can often be found in the order and pattern of music. Because scale measures can have different sizes, this process introduces smooth melodic and harmonic variations into music. In Western tonal music, the simplest and most common type of modulation (or change the key) is to shift from one primary key to another key built on the first (or dominant) fifth key scale level. In C major key, this will involve moving to a major G key (which uses F #). Composers also often modulate to other related keys. In some parts of romantic music and contemporary music, composers modulate into "remote keys" that are unrelated or close to the tonic. An example of remote modulation is to take a song that starts on C major and modulation (change key) to F # main. This variation of transposition and modulation gives scalar music much of its complexity.
Jazz and blues
Through the introduction of blue tones, jazz and blues use smaller scale intervals than semitone. The blue tone is an interval that is technically not big or small but "in the middle", giving it a distinctive flavor. An ordinary piano can not play a blue tone, but with an electric guitar, a saxophone, a trombone and a trumpet, the player can "bend" the sharp or flat tone of a sharp note to make a blue note. For example, in key E, the blue tone will be whether there is a record between G and G ? or note moving between them. In the blues. often used pentatonic scales. In jazz many different modes and scales are used, often in the same piece of music. Chromatic scales are common, especially in modern jazz.
Non-Western Scale
Same temperature
In Western music, scale notes are often separated by the same tone or semitone, creating 12 notes per octave. Scale using a subset of 12 of these. There are other traditional tempered scale systems dividing octaves into the same intval in other numbers of 12. Examples are 53 in the Middle East, and 72 in southern India.
More
Many other musical traditions use scales that include other intervals. This scale originates in the derivation of the harmonic series. The music interval is the complementary value of the harmonic tone sound series. Many of the world's musical scales are based on this system, with the exception of most musical scales from Indonesia and the Indochina Peninsula, based on the inharmonious resonance of dominant metallophone and gambang instruments.
Intra-scale interval
There are also scales that use different pitch counts. The general scale in Eastern music is the pentatonic scale, which consists of five tones covering an octave.
Some scales extend part of an octave; Some such short scales are usually combined to form a scale that includes one full octave or more, and is usually referred to by its own third name. Middle Eastern music has about a dozen short scales combined to form hundreds of full-scale octave ranges. Among the Middle East scale the Hejaz scale has one interval covering 14 commas (of middle eastern type found 53 in an octave) roughly similar to 3 semitones (of the western type found 12 in an octave), while the Saba scale, the other from the middle this eastern scale, has 3 successive tones in 14 commas, which are separated by approximately one western semitone on either side of the middle note.
The music gamelan uses a variety of small scales including PÃÆ' Â © log and SlÃÆ' Â © ndro, none of which include equally or harmonic intervals. Indian classical music uses a moveable seven-tone scale. Indian R? Gas often uses smaller intervals than semitone. Maqamat Arab music can use quarter tone intervals. Good in r? Gas and maqamat, the distance between notes and inflections (eg, Ruti) from the same note may be less than semitone.
Microtonal scale
The term microtonal music usually refers to music with traditional Western music roots using a non-standard scale or scale interval. At the end of the 19th century, the Mexican composer JuliÃÆ'¡n Carrillo created a microtonal scale which he called Sonido 13 . Composer Harry Partch created a custom musical instrument to play compositions based on a 43-note scale system, and American jazz vibraphonist Emil Richards experimented with scale as in his Microtonal Blues Band in the 1970s. Easley Blackwood writes compositions on all of the same-tempered scales from 13 to 24 notes. Erv Wilson introduces concepts such as the Combined Products (Hexany), Symmetry Moments and golden horagrams, which are used by many modern composers. The microtonal scale is also used in traditional Indian music Raga, which uses various modes not only as a mode or scale, but also as a song, or body-defining element.
See also
- List of scales and music modes
- Melody pattern
- Tone circle
- Shepard Tones
References
Further reading
- Barbieri, Patrizio (2008). Enharmonic Instruments and Music, 1470-1900 . Latina, Italy: Il Levante Libreria Editrice. ISBNÃ, 978-88-95203-14-0 Ã,
- Yamaguchi, Masaya (2006). Complete Thesaurus of the Music Scales (ed revised.). New York: Masaya Music Services. ISBNÃ, 978-0-9676353-0-9 Ã,
External links
- Sweep Octave, Consonant & amp; Dissonance
- WolframTones - listen and play music scales
- The scale visual representation of WolframTones
- ScaleCoding
- Databases in the.xls and FileMaker formats of all 2048 unique scale possibilities in 12 different temperament tones mean one alternative.
Source of the article : Wikipedia
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