but also sound
So, the structure of chords is a topic that we will develop today. And, first of all, let’s turn to the definition of a chord, specify what it is. A chord is a consonance, a sound complex. In a chord, at least three sounds should be sounded at once or one after another, because harmonies in which only two sounds are called differently are intervals. And yet, the classic definition of a chord says that the sounds of a chord are either already arranged in thirds, or they can be arranged in thirds when rearranged.
This last point, just, is directly related to the structure of the chord. Since modern harmony has gone far ahead of the standards established by the music of classical composers, this last remark about the arrangement of sounds by chords in a chord is not applicable to some modern chords, since their structure is based on a different principle for constructing a chord. Continue reading
You have probably come across such philosophical concepts as form and content. These words are universal enough to denote similar aspects of the most diverse phenomena. And music is no exception. In this article you will find an overview of the most popular forms of musical works. Before calling the common forms of musical works, let us determine what exactly is form in music? Form is what relates to the design of a work, to the principles of its structure, to the sequence of conducting musical material in it. The form of musicians is understood in two ways. On the one hand, the form is a layout of all parts of the musical composition in order.
On the other hand, form is not only a scheme, but also a process of formation and development in a work of those expressive means by which an artistic image of a given work is created. What are these expressive means? Melody, harmony, rhythm, timbre, register and so on. The rationale for such a double understanding of the essence of musical form is the merit of the Russian scientist, academician and composer Boris Asafiev. Continue reading
The subject of classical harmony necessitates a deep examination of the interconnections between different keys. This relationship, first of all, is carried out by the similarity of several keys with common sounds (including key characters) and is called the relatedness of keys. First you need to clearly understand that, in principle, a universal system that determines the degree of relatedness of tonalities does not exist, since each composer perceives and implements this relationship in his own way. However, nevertheless, in musical theory and practice some systems exist and are firmly established, for example, Rimsky-Korsakov, Methodin, Hindemith and few other musicians.
The degrees of relatedness of keys are determined by the proximity of these keys to each other. The criteria for proximity are the presence of common sounds and consonances (mainly triads). Continue reading