Music Theory

Tempo di valse is a common tempo used in waltz arrangements. It indicates to the conductor that the piece should be conducted in 2. For example, making three quarter time into six eighths. Ultimately, it does not create much of a variance, but it is a heads up. 3 -> 6 when in Tempo di Valse (in 2)

4 -> 8

If the time is 4/4, the following notes would be:

A quarter note (1/4 or 2/8) of the measure)

A half note (2/4 or 4/8) of the measure

2 eighth notes (2/8) of the measure.

Homo- : 1

phon : sound

-ic : adjective

Texture : the feel of an object

so pretty much, if you had a melody played over one chord it would be an example of homophonic texture. Also Bagpipe music has a lot of homophonic texture in the concert Bb that plays under every note.

Yes, they were the bards so to speak of the Middle Ages. They wrote their own and no doubt borrowed poems/song from one another and epic poem writers.

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Troubadours were among those who composed medieval music. There were others also.

Most of the cases is used Italian. Also german and french is often used to describe tempo indications

Notation. Nomenclature. Note-row.

It is highly probable that the Greek initiates gained their knowledge of the philosophic and therapeutic aspects of music from the Egyptians, who, in turn, considered Hermes the founder of the art. According to one legend, this god constructed the first lyre by stretching strings across the concavity of a turtle shell. Both Isis and Osiris were patrons of music and poetry. Plato, in describing the antiquity of these arts among the Egyptians, declared that songs and poetry had existed in Egypt for at least ten thousand years, and that these were of such an exalted and inspiring nature that only gods or godlike men could have composed them. In the Mysteries the lyre was regarded as the secret symbol of the human constitution, the body of the instrument representing the physical form, the strings the nerves, and the musician the spirit. Playing upon the nerves, the spirit thus created the harmonies of normal functioning, which, however, became discords if the nature of man were defiled.

While the early Chinese, Hindus, Persians, Egyptians, Israelites, and Greeks employed both vocal and instrumental music in their religious ceremonials, also to complement their poetry and drama, it remained for Pythagoras to raise the art to its true dignity by demonstrating its mathematical foundation. Although it is said that he himself was not a musician, Pythagoras is now generally credited with the discovery of the diatonic scale. Having first learned the divine theory of music from the priests of the various Mysteries into which he had been accepted, Pythagoras pondered for several years upon the laws governing consonance and dissonance. How he actually solved the problem is unknown, but the following explanation has been invented.

One day while meditating upon the problem of harmony, Pythagoras chanced to pass a brazier's shop where workmen were pounding out a piece of metal upon an anvil. By noting the variances in pitch between the sounds made by large hammers and those made by smaller implements, and carefully estimating the harmonies and discords resulting from combinations of these sounds, he gained his first clue to the musical intervals of the diatonic scale. He entered the shop, and after carefully examining the tools and making mental note of their weights, returned to his own house and constructed an arm of wood so that it: extended out from the wall of his room. At regular intervals along this arm he attached four cords, all of like composition, size, and weight. To the first of these he attached a twelve-pound weight, to the second a nine-pound weight, to the third an eight-pound weight, and to the fourth a six-pound weight. These different weights corresponded to the sizes of the braziers' hammers.

Pythagoras thereupon discovered that the first and fourth strings when sounded together produced the harmonic interval of the octave, for doubling the weight had the same effect as halving the string. The tension of the first string being twice that of the fourth string, their ratio was said to be 2:1, or duple. By similar experimentation he ascertained that the first and third string produced the harmony of the diapente, or the interval of the fifth. The tension of the first string being half again as much as that of the third string, their ratio was said to be 3:2, or sesquialter. Likewise the second and fourth strings, having the same ratio as the first and third strings, yielded a diapente harmony. Continuing his investigation, Pythagoras discovered that the first and second strings produced the harmony of the diatessaron, or the interval of the third; and the tension of the first string being a third greater than that of the second string, their ratio was said to be 4:3, or sesquitercian. The third and fourth strings, having the same ratio as the first and second strings, produced another harmony of the diatessaron. According to Iamblichus, the second and third strings had the ratio of 8:9, or epogdoan.

The key to harmonic ratios is hidden in the famous Pythagorean tetractys, or pyramid of dots. The tetractys is made up of the first four numbers--1, 2, 3, and 4--which in their proportions reveal the intervals of the octave, the diapente, and the diatessaron. While the law of harmonic intervals as set forth above is true, it has been subsequently proved that hammers striking metal in the manner

Four. Two eighth notes equal a quarter note, and two quarter notes equal a half note.SO, this is the correct answer

B Major

"Bm" would make it B Minor...

B minor

Si menor

H-moll

Alex K- Lebanese Remix

Rondo

I know the answer, are you doing the mail crossword as well, ;-))))))))))

Note length is a relative value, so the physical length of the sound would depend on the tempo of the concrete piece of music.

If we take tempo largo (about 44-52 beats per minute), one quarter note would last 60/44=1,36 seconds. So one 128th note would sound 32 times shorter, that is a little more that 4 milliseconds.

The key of D Major has 2 sharps: F# and C#. This is always the same no matter what instrument you play.

There are two minums in a semibreve.

There are two Crotchets in a Minum.

There are two Quavers in a Crotchet.

There are two Semiquavers in a Quaver.

There are two DemiSemiQuavers in a SemiQuavers.

There are two HemiDemiSemiQuavers in a DemiSemiQuavers.

Generally music written for the piano will place the notes intended for the left hand in the bass clef, although there is no reason a musical piece could not be written to be played entirely in the Treble clef.

pp - pianissimo - very soft

p - piano - soft

mp - mezzo-piano - medium-soft

mf - mezzo-forte - medium-loud

f- forte - loud

ff - fortissimo - very loud

cresc. - crescendo - get louder

decresc. - decrescendo - get softer

sf - sforzando - sudden accent

sfp - sforzando-piano - sudden accent and sudden piano

Yes, some can be heard quite clearly as the majority of them are Satanic.

Simply put... yes. Otherwise you have a melody of just one note, or a never ending scale (in the most simplistic terms). All (good) melodies need some form of balance in the direction of the melody to keep it interesting and to keep it in the range of the instrument.

[or am I over-analyzing this?]

Well, it depends on how you pronounce it. Standard American English puts the stress on the first syllable (if that is what you mean by first or second syllable word). It is pronounced MU-si-cal.

The opening section of a fugue is called the "exposition." In the exposition, all the voices of the fugue enter in turn with the subject (or answer).