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tetrachord
tetrachord (ˈtɛtrəkɔːd) [ad. Gr. τετράχορδον (sc. ὄργανον), a Greek musical instrument, f. τετρα- tetra- + χορδή string.] 1. An ancient musical instrument with four strings.1603 Holland Plutarch Explan. Words, Tetrachord, an instrument in old time of foure strings. 1814 Mann. & Cust. in Ann. Reg. 49...
Oxford English Dictionary
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Tetrachord
These genera are characterized by the largest of the three intervals of the tetrachord:
Diatonic
A diatonic tetrachord has a characteristic interval Enharmonic
An enharmonic tetrachord has a characteristic interval that is greater than about four-fifths the total tetrachord interval.
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Descending tetrachord
In music theory, the descending tetrachord is a series of four notes from a scale, or tetrachord, arranged in order from highest to lowest, or descending The descending tetrachord may fill a perfect fourth or a chromatic fourth.
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All-interval tetrachord
An all-interval tetrachord is a tetrachord, a collection of four pitch classes, containing all six interval classes. Use in modern music
The unique qualities of the all-interval tetrachord have made it very popular in 20th-century music.
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Dastgāh-e Māhur
This type, as shown in the next score, is less typical and gives no emphasis to the tetrachord below the finalis:
()
A third type of Forud, given These modifications are:
The tetrachord above the finalis receives more emphasis than the tetrachord below it, except in the Forud.
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Pyknon
tetrachord. In its basic theoretical form, the largest interval of a tetrachord is at the top, and the smallest at the bottom.
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Sthayi
The Sthayi part of a Dhrupad is the first of four stanzas and uses the middle octave's first tetrachord and the lower octave notes.
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Jins
Bayati
Jins Bayati is a tetrachord spanning a perfect fourth. Hijaz
Jins Hijaz is a tetrachord spanning a perfect fourth.
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Octave species
The species defined by the different positioning of the intervals within the tetrachord in turn depend upon genus first being established. Most Greek theorists distinguish three genera of the tetrachord: enharmonic, chromatic, and diatonic.
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Hypophrygian mode
Aristoxenus, this octave species was originally described around the year 400 BC by the Harmonicist school of Eratocles in terms of the enharmonic genus of the tetrachord The Dorian octave species begins with this tetrachord, which is followed by a whole tone and another tetrachord to complete the octave with a pattern of
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Lament bass
The diatonic version is the upper tetrachord from the natural minor scale, known as the Phrygian tetrachord, while the chromatic version, the chromatic This tetrachord, treated as a very short ground bass, is repeated again and again over the length of the composition.
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Andalusian cadence
It is otherwise known as the minor descending tetrachord. The roots of the chords belong to a modern phrygian tetrachord (the equivalent of a Greek Dorian tetrachord, the latter mentioned above), that is to be
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Ptolemy's intense diatonic scale
It is produced through a tetrachord consisting of a greater tone (9:8), lesser tone (10:9), and just diatonic semitone (16:15). This is called Ptolemy's intense diatonic tetrachord (or "tense"), as opposed to Ptolemy's soft diatonic tetrachord (or "relaxed"), which is formed by
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Didymus the Musician
There, one finds examples of his tetrachords as measured string lengths from which the following proportions can be calculated:
diatonic tetrachord: (16:15)(10:9)(9:8)
chromatic tetrachord: (16:15)(25:24)(6:5)
enharmonic tetrachord: (32:31)(31:30)(5:4)
Like Archytas, he used a major third, but appears
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Hypodorian mode
term literally meaning 'below Dorian', derives its name from a tonos or octave species of ancient Greece which, in its diatonic genus, is built from a tetrachord ecclesiastical Hypodorian mode was defined in two ways: (1) as the diatonic octave species from A to A, divided at the mode final D and composed of a lower tetrachord
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