In solfeggio, a key traditional music or spelling in the spelling key today is the most common graphic signs placed at the beginning of the scope and whose function is to indicate a note marker associated with a line.
The key is necessarily the beginning of any significance, but may also occur elsewhere: in this case, it was simply dealing with a key change, a phenomenon quite similar to the change of measure.
There are three key figures: the treble key, which indicates the G3, near of the A of the tune, and for the treble, the tenor key, which indicates the C3 ut is the ancient name of C which concern the sounds of the medium, finally, the bass key, which indicates the F2 who concern the bass sounds.
The design of the keys is derived from letters G (for SOL), F (for FA) and C (for DO or UT), which we had always put on a primitive line of the staff around the XIth century in order to attach to the absolute height line. The scribes have gradually transformed the appearance of these letters until getting the graphics of the current key. This finding is in fact the origin of the scope of the invention, is attributed to an Italian monk, Guido of Arezzo.
Figure Each key can in principle bind to any line of the staff, we should have a full 15 keys. However, the practice has only kept two of F keys, four keys of UT and two key SOL. A key from C to B, the G3 is of the same octave as the C3.
Each instrument or voice each having its ambitus own particular extent, the choice of the key allows you to write a score for that instrument or the voice, using up five lines of the staff, without too many extra lines increase .
Nowadays, the key shows only one particular area of the range of heights. Until the mid-XVIIIth century, however, the key determined more precisely the type of voice and, by extension, the type of instrument landing.
Finally, we note a key of F 5th, which was sometimes used in early Renaissance (nine keys at the time), but while the treble is still in many manuscripts of the XVIIIth century, this key of F 5th was quickly abandoned in practice. It produced the same notes that our current clef, two octaves lower.
The knowledge of all the keys is essential as musicians wishing to study the transposition, orchestration or composition, the others may be content with the key corresponding to their type of voice or instrument.
The bass key F 4th and G 1st actually producing the same notes the heights of sound, cons, two octaves differ between these two keys, one can consider that there in fact seven keys. It is not by chance that the actual number of keys corresponding to the number of notes. Indeed, these seven keys allow the assignment of any name of note to any location on the staff or line spacing.
We can indeed use different keys to transpose a score. Thus, to play two tones above a part written in treble key, the C must be E, the D, F, the E, G, etc... Just change the key of G in the key of F. Thus the G will become B, the A, C, the B, D, etc... It will also change the armor, and some accidentals, sharps, flats, etc... , that is another story.
This "implementation by the key" is not known by musicians of all countries, and appears linked to some French traditional music theory. Furthermore, it has the disadvantage of not always indicate the octave sounds real good. This process is a misuse of the historical sense of these different keys, whose existence was necessitated by the implementation but by a desire to avoid the additional lines.
Traditionally, the notation of certain instruments or certain voice can shift the actual pitch of the note marker, and therefore, the whole question of one octave vocal range, or more if necessary. This is a permanent octave.
The notes represented on the staff does not only depend on the key placed on it, in effect depending on the range color desired, the main notes of the scale may be altered a semitone. To avoid having to always note the half-tones, so very common to carry out major chords of notes in this range, the changes of a semitone (sharp, B-flat) notes major scale indicated by the key alone are then scored in just the armor near the top of the key score.
You can then cancel the half-ton of armor, note by note, by completing each of a B-natural in case of need, but the game played on stringed instruments or organ, the perfect chromatic harmony n is normally not obtained by playing the corresponding note of the major scale, but altered it slightly lower (or higher) in half-tone canceled the frame. The frame of the key does not normally naturals except to indicate that a note most of the range is in fact not changed according to the main note of the major chord, and mark and the dissonance is intended by composer. This particular case should only apply in the works played with different instruments, to serve as secondary instruments must agree with the notes played with the major principal instruments.
This notation of naturals is now little used in the "modern" music today, where simple major and minor scales are the most frequent, and where the keyboard instruments rarely allow the expression of these pure lines, in fact, this is often the performers who fit themselves and give the notes of their instruments in interpreting the scores according to the desired sound effect (the dissonances and other changes are now common and often volunteers). This notation is not necessary for the game with a single type of instrument or when alterations in semitones are not possible: in this case instruments emphasize a fairly defined frames and therefore also a limited number of keys based the limited number of lines they can play and give without dissonance.
Besides the armor, there are also frequent time signature indicating the length of the measures (and the number of notes or chords played in the rhythm of core), or other abbreviated notation to indicate the tempo ( or variation thereof) and the expressiveness of the notes. Their notation in the key rather than next to every note simplifies reading and understanding of score.
In solfeggio, the chromatic scale refers to a musical scale consisting of seven degrees of the diatonic scale of five notes added intermediaries, each sharing your past two semitones through accidentals.
The rhythm is in music, which determines the duration of notes to each other. The rhythm, melody, tempo and nuance are the four main facts to characterize a given musical phrase.
In western music, solfeggio (or music theory) is the study of elements to read, write, play or sing a score. The ultimate goal of reading music is to hear a musical work, its orchestration and its interpretation, no other medium that its interior hearing.
In western music, the word means a tone scale music belonging to the tonal system.
A tone is defined as the set of intervals, melodic and harmonic as well, between hierarchical levels of a given scale compared to its fundamental level, called tonic. A tone is characterized by both the tonic and its mode.
Each key is constructed from the diatonic scale.
The tone is also a means to locate a musical instrument in relation to C reference.
The flute, violin or piano are in C, that is to say that when the C is played, it really means to do. The B-flat trumpet sounded really flat so when playing a do. The horn (in F) is heard when playing an F do.
The tone is very important because it will allow transposition and transcription of partitions in C in tones of instruments with different pitches.
Some instruments and their tone:
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