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the tonal centre
Description
The Tonal Centre is an interactive site for music composers and theorists which explains and demonstrates some of the key concepts of tonality; including chords, scales, cadences, and modulation.
music theory, tonality, tonal, functional tonality, tonal function, tonal centre, tonal center, tonic, dominant, subdominant, cadence, perfect, imperfect, authentic, plagal, deceptive, interrupted, full, half, close, cadences, cadential, harmony, harmonies, music, melody, melodies, counterpoint, major, minor, scale, scales, major scale, minor scale, chord, chords, major chord, minor chord, chord progression, triad, triads, major triad, minor triad, major mode, minor mode, mode, modes, modal, lydian, ionian, mixolydian, dorian, aeolian, phrygian, locrian, harmonic minor, melodic, melodic minor, chord function, dominant function, tonic function, dominant seventh, augmented sixth, French sixth, German sixth, Italian sixth, augmented, diminished, antepenult, penult, final, progression, progressions, diatonic, diatonic scale, root, root position, inversion, inverted, composition, compose, modulation, key, key change, region, chart, monotonality, relative, parallel, enharmonic modulation
music theory, tonality, tonal, functional tonality, tonal function, tonal centre, tonal center, tonic, dominant, subdominant, cadence, perfect, imperfect, authentic, plagal, deceptive, interrupted, full, half, close, cadences, cadential, harmony, harmonies, music, melody, melodies, counterpoint, major, minor, scale, scales, major scale, minor scale, chord, chords, major chord, minor chord, chord progression, triad, triads, major triad, minor triad, major mode, minor mode, mode, modes, modal, lydian, ionian, mixolydian, dorian, aeolian, phrygian, locrian, harmonic minor, melodic, melodic minor, chord function, dominant function, tonic function, dominant seventh, augmented sixth, French sixth, German sixth, Italian sixth, augmented, diminished, antepenult, penult, final, progression, progressions, diatonic, diatonic scale, root, root position, inversion, inverted, composition, compose, modulation, key, key change, region, chart, monotonality, relative, parallel, enharmonic modulation
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Apr 30, 2005
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8124
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Other links at Theory, Tuning...
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A practice in the mathematics of tuning instruments and analyzing scales.
The Chrysalis Foundation.
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Cris Forster, Chrysalis Foundation, Musical Mathematics, just intonation, intonation, new music, microtone, microtonal music, tuning, scales, harmonic series, temperament, meantone, music history, tuning history, acoustic instrument, instrument construction, musical acoustics, musical glass, simple flute, marimba, canon, Marin Mersenne, Max F. Meyer, Harry Partch, Al-Jurjani, Ishaq Al-Kindi, Al-Farabi, Bharata, Ramamatya, Philolaus, Euclid, Safi Al-Din, Bartolomeo Ramis, Chris Forster.
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"Why I hate Vallotti (or is it Young?)", By Ross W. Duffin
Department of Music
Case Western Reserve University.
Abstract:
Modern performers of Baroque music are increasingly using historical temperaments. Among the dozens of temperament solutions proposed by theorists during the 17th and 18th centuries, related temperaments by Francesc' Antonio Vallotti and Thomas Young are among the most popular today, to the point where they arguably dominate the field.This article briefly reviews the technical basis for temperaments, then presents the historical and musical evidence for and against the temperaments of Vallotti and Young in performances of Baroque music. Graphics and sound illustrations allow comparison of the different temperaments both by constituent intervals and complete pieces.On both historical and musical grounds, the author pleads for a more critical approach to Baroque temperament choices, suggesting that 1/6 comma meantone might be a better temperament for most ensemble situations.
Department of Music
Case Western Reserve University.
Abstract:
Modern performers of Baroque music are increasingly using historical temperaments. Among the dozens of temperament solutions proposed by theorists during the 17th and 18th centuries, related temperaments by Francesc' Antonio Vallotti and Thomas Young are among the most popular today, to the point where they arguably dominate the field.This article briefly reviews the technical basis for temperaments, then presents the historical and musical evidence for and against the temperaments of Vallotti and Young in performances of Baroque music. Graphics and sound illustrations allow comparison of the different temperaments both by constituent intervals and complete pieces.On both historical and musical grounds, the author pleads for a more critical approach to Baroque temperament choices, suggesting that 1/6 comma meantone might be a better temperament for most ensemble situations.
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The Just Intonation System of Nicola Vicentino:
Nicola Vicentino (1511-c.1576) was a remarkable theorist and composer whose fame today rests chiefly with his advocacy of chromatic and even microtonal music. Unlike the traditional theorist of the Middle Ages, he was not content to just confine himself to abstract mathematical theory; he showed how his theories could be applied to practical composition and tuning. In fact, he designed and built at least two keyboard instruments designed to play in all of the Greek genera: a harpsichord with thirty-six keys per octave which he called the archicembalo and a comparable portative organ, the arciorgano. His tuning system included thirty-one pitches within an octave, which, as Barbour reasonably interprets it, was most probably applied to the archicembalo through a cycle of fifths tempered by 1/4-syntonic comma, the same interval commonly used in meantone temperament at the time [1]. However, it is less well known that he also defined the intervals of his system either implicitly or explicitly at least two other ways: as just ratios derived from ancient theorists, and as divisions of other intervals.
Humanism began having a profound effect on music theory and aesthetics in the sixteenth century, when musicians began rediscovering or reevaluating the writings of ancient theorists such as Boethius and Ptolemy. The ancient theories of modes and tetrachordal divisions, though often misunderstood, were widely considered prerequisite knowledge to the art of composition. Vicentino presented his own theories and interpretations of ancient theory in his treatise L'antica musica ridotta alla moderna prattica (Ancient Music Restored to Modern Practice), first published in Rome in 1555 ...
Nicola Vicentino (1511-c.1576) was a remarkable theorist and composer whose fame today rests chiefly with his advocacy of chromatic and even microtonal music. Unlike the traditional theorist of the Middle Ages, he was not content to just confine himself to abstract mathematical theory; he showed how his theories could be applied to practical composition and tuning. In fact, he designed and built at least two keyboard instruments designed to play in all of the Greek genera: a harpsichord with thirty-six keys per octave which he called the archicembalo and a comparable portative organ, the arciorgano. His tuning system included thirty-one pitches within an octave, which, as Barbour reasonably interprets it, was most probably applied to the archicembalo through a cycle of fifths tempered by 1/4-syntonic comma, the same interval commonly used in meantone temperament at the time [1]. However, it is less well known that he also defined the intervals of his system either implicitly or explicitly at least two other ways: as just ratios derived from ancient theorists, and as divisions of other intervals.
Humanism began having a profound effect on music theory and aesthetics in the sixteenth century, when musicians began rediscovering or reevaluating the writings of ancient theorists such as Boethius and Ptolemy. The ancient theories of modes and tetrachordal divisions, though often misunderstood, were widely considered prerequisite knowledge to the art of composition. Vicentino presented his own theories and interpretations of ancient theory in his treatise L'antica musica ridotta alla moderna prattica (Ancient Music Restored to Modern Practice), first published in Rome in 1555 ...
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