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Topic: Pentachord

	[No title] (Site not responding. Last check: 2007-11-05)
		The pentachord is a five-note figure, covering the first five notes of a major or minor scale, played with the five fingers of each hand.
		It’s the same as the major scale pentachord with one difference: the 3rd note is a half-step lower.
		Place your fingers over the notes in the pentachord position Play the notes—sensing the contour of the melody in your hand, the direction and the spacing of the intervals.
	www.cwu.edu /~music/theory/exer2-23_24_25_26.doc (562 words)

	Karl Friedrich Abel - Wikipedia, the free encyclopedia
		He studied under Johann Sebastian Bach at the Leipzig Thomasschule; played for ten years (1748-1758) under A. Hasse in the band formed at Dresden by the elector of Saxony; and then, going to England, became (in 1759) chamber-musician to Queen Charlotte.
		He gave a concert of his own compositions in London, performing on various instruments, one of which, the pentachord, was newly invented.
		In 1762 Johann Christian Bach, the eleventh son of Johann Sebastian Bach, came to London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous concerts subsequently known as the Bach and Abel concerts.
	en.wikipedia.org /wiki/Karl_Friedrich_Abel (360 words)

	MSN Encarta - Multimedia - Traditional Kantele of Finland
		This example of a polska is performed on a kantele, a ten-string double-boarded zither, which is well known throughout the Balto-Finnish region.
		The instrument, which originally had only five strings, is tuned to a pentachord (five-tone).
		Most of the songs played on this instrument are song and dance melodies.
	encarta.msn.com /media_461563631_761554209_-1_1/Traditional_Kantele_of_Finland.html (106 words)

	More Odds and Ends (Site not responding. Last check: 2007-11-05)
		Some were used more in theory than in practice, yet all of them consisted of a pentachord (five intervals) and a tetrachord (four intervals), just like our modern ones.
		A plagal mode consists of a tetrachord with a pentachord above it (for example, using a traditional D-Dorian beginning with a DD,-- that is, the D below the G below middle C: Most music theorists agree that plagal modes were devised to allow for melodies extending into the lower ranges.
		The main differences between authentic and plagal modes are that plagal modes begin a fourth lower than the authentic and that they have a different dominant (reciting tone); however, both modes share the same final note.
	www.robertforce.com /wilddulcimer/bottom_frames/WDCH91.HTM (1190 words)

	Tonal Harmony: Variation Essay
		The complement of this pentachord (5-note) set is the septachord (7-note) set comprising all (white key) pitches of the C-major scale.
		Complements have remarkably similar interval content: the interval class vector of the larger one is essentially an expanded version of the smaller: 254361 vs. 032140.
		The most prominent interval class in both sets is ic5; the least prominent in both sets are ic1 and ic6 (both of which are absent in the pentachord).
	highered.mcgraw-hill.com /sites/0072852607/student_view0/part6/chapter28/variation_essay.html (1463 words)

	Ajnas
		Trichords are sets of 3 notes, tetrachords are sets of 4 notes, and pentachords are sets of 5 notes.
		omplex sets (containing other partial sets) are defined as pentachords, as in Nawa Athar and its variation Athar Kurd for example.
		Some books represent this tetrachord as a pentachord with a G as the 5th note, in order to complete the Hijaz tetrachord.
	www.maqamworld.com /ajnas.html (765 words)

	Farzad Farhangi - Basic Concepts
		Not all possible tetrachords and pentachords are used, as some are considered dissonant.
		The joining of the tetrachords and pentachords is what gives a makam its intervals and its characteristic tones, such as the tonic, the dominant, the rest…..etc.
		The Transposed Makams are, as their name implies, makams that are transposed to a note other than their theoretical tonic, for example makam Nihavaent that is a tarnsposition of the Buselik makam (This is mostly a Turkish concept).
	www.farzadweb.com /basicconcepts.htm (322 words)

	Maqam
		is built of a tetrachord built atop a pentachord, or vice versa (trichords exist but are little used).
		(durak), which is the initial note of the first tetrachord or pentachord and which always concludes any piece written in the makam;
		(güçlü), which is the last note of the first tetrachord or pentachord and the first note of the second and which is used as a temporary tonic in the middle of a piece (in this sense, it is somewhat similar to the
	www.mp3.fm /Maqam.htm (1870 words)

	Iranian segah mode - musical scale
		The proportion of this pentachord is roughly 30 : 34 : 37 : 40 : 45.
		i.e., this is the set of smallest numbers which give a good approximation of the integers in the "ideal" JI proportion of the pentachord.
		Since this pentachord makes use of the two higher primes 17 and 37, but otherwise is 5-limit, there are a lot of useless zeros in the monzos, so in this case it's better to use comma-marks after every number and show only the exponent for primes which are
	tonalsoft.com /enc/i/iranian-segah-mode.aspx (678 words)

	Analogion - Byzantine Music Resources
		a tetrachord or a pentachord or an octave)
		A set of 4 defined intervals (a pentachord) repeating up and down unchanged.
		An example is Fourth Plagal chromatic made up from a diatonic pentachord and a soft chromatic tetrachord.
	www.analogion.com /Glossary.html (542 words)

	pentachord - OneLook Dictionary Search
		Tip: Click on the first link on a line below to go directly to a page where "pentachord" is defined.
		Pentachord : Online Plain Text English Dictionary [home, info]
		pentachord : Webster's Revised Unabridged, 1913 Edition [home, info]
	www.onelook.com /?w=pentachord (116 words)

	ipedia.com: Musical set theory Article (Site not responding. Last check: 2007-11-05)
		The domain of all pitch class sets may be partitioned into types or equivalence classes based on cardinality or number of pitch classes, or other criteria.
		There are thirteen cardinalities from 0-12: the null set, monad, dyad, trichord, tetrachord, pentachord, hexachord, septachord, octachord, nonachord, decachord, undecachord, and aggregate or dodecachord.
		The basic operations that may be performed on a set are transposition and inversion and multiplication.
	www.ipedia.com /musical_set_theory.html (1375 words)

	MA\|$M [VI:96b] (Site not responding. Last check: 2007-11-05)
		can only use the open string and four fingers, which reinforces the link between the fifth and the playing of a pentachord and does not stir the musician to imagine micro-intervals smaller than the limma which do not exist in the traditional genres.
		All these genres are compatible with the fifth and can be represented in the form of pentachords on a diagram illustrating the real value of the intervals and the preferred insertion on the scale of sounds, itself transposable.
		A comparative approach to the Arab, Iranian and Turkish modes would allow, by making an abstraction of nationalisms, separatisms or claims of paternity, the discovery of a large number of divergent structures under a common name or common structures under different names.
	www.encislam.brill.nl /data/EncIslam/C3/COM-0633.html (6317 words)

	SET THEORY, Part 1 Problems (Site not responding. Last check: 2007-11-05)
		Problem 2: Complete an interval inventory (interval vector) of this arrangement of white keys to see if the interval content changes or remains the same as other versions of the set of white keys.
		Problem 3: Complete an interval vector of this pentachord.
		Problem 4: Complete an interval vector of this pentachord.
	jan.ucc.nau.edu /~krr2/settheory/setprob1.html (488 words)

	MTO 4.2: Alpern, Review, Webern and the Lyric Impulse
		Moreover, this is succeeded by another transpositional entrance down another whole step of a third pentachord , whose first four notes transpose those of the first pentachord exactly from its beginning, again with the same intervals <-5 1+3>.
		The descending fourth at the beginning of the first pentachord thus becomes the ascending fourth at the end of the second, while the transpositionally invariant tetrachords and remain intact.
		Now the first and third pentachords share a transpositionally invariant tetrachord at their beginning, with the descending semitone at the end of the first pentachord matching the ascending semitone at the end of the third pentachord.
	societymusictheory.org /mto/issues/mto.98.4.2/mto.98.4.2.alpern.html (6682 words)

	musiq.com Makam (maqam) introduction (Site not responding. Last check: 2007-11-05)
		Known as fasilah (not to be confused with the Turkish vocal genre known as fasil), it groups makams by the root tetrachord or pentachord.
		Currently, some theorists organize modes by their tonic (i.e., modes starting on Dugah (D)), but such a distinction doesn't highlight the interrelations (or lack thereof) between modes that coincidentally have the same tonic.
		In addition to these fasilahs, I would suggest a set of fasilahs for the combination makams (ones which have more than one tetrachord or pentachord based at the tonic).
	www.musiq.com /makam/page5.html (295 words)

	Hexachords - Early Alternatives
		Using a do-re-mi system, Jardanyi suggests a mutation: D5 should be sung as la in the first portion of the sung based on the upper pentatonic stratum, but G4 as la in the second portion based on the lower stratum.
		Singing both the confinal D5 in the first section and the final G4 in the second section with the syllable "re" may clarify this symmetry, and underscore the role of D5 as the confinal or "co-center" of the melody.
		Thus Allaire [139] urges us to understand the modes "as interlocking hexachords, rather than as scales in the modern sense." Whatever Allaire's qualifying phrase "in the modern sense" may mean, medieval perspectives focus on the modes both as octave species and as unions of tetrachords or hexachords.
	www.medieval.org /emfaq/harmony/hex4.html (4624 words)

	[No title]
		The descending fourth at the beginning of the first pentachord thus becomes the ascending fourth
		Now the first and third pentachords share a transpositionally invariant tetrachord at their beginning, with the descending semitone
		The underlying compositional process here as before reveals the composer deliberately revising his sketches to instill greater ambiguity rather than order through the distortion or "fuzzification" of a logical scheme.
	www.societymusictheory.org /mto/issues/mto.98.4.2/mto.98.4.2.alpern.rev (6294 words)

	Reflections from three months with Ross Daly (EdwardPowell.com)
		The MAIN characteristic of any maqam is it's first tetra-chord or penta-chord (a maqam is either a tetrachord, and then a pentachord which has as it's first note the last note of the tetrachord---or vise versa; a pentachord and then a tetrachord).
		The determining characteristic of a given tetra or penta chord is the distance between each-- therefore any tetra or pentachord can to modulated, transposed, or moved around anywhere.
		MAQAM RAST is Rast pentachord + Rast tetrachord (which is that same as Rast pentachord in terms of distance between each consecutive note--- but the 5th note is not there[obviously]);
	www.edwardpowell.com /ross.html (4189 words)

	Unfretted - Fretless Guitar Resource.
		In Turkish Music, a makam scale is composed of a tetrachord (dörtlü) over a pentachord (besli) or a pentachord over a tetrachord.
		The last note of the pentachord and the first note of the tetrachord (or vice versa) is the same; therefore there are 8 notes in a scale.
		Below the scale: It is possible to play a Rast pentachord which is transposed over the note Yegah (D).
	www.unfretted.com /loader.php?LINK=/classes/makam (3155 words)

	Jeff Brent's Lessons: Minor Scales & Modes
		The Dorian has the minor pentachord on the bottom, its 6th is a major 6th interval from the root and the 7th is a minor 7th interval from the root.
		Taking this one step further, we become aware that we can choose (relatively freely) which type of 6ths and which type of 7ths we want to use (depending on the sound we're going for).
		Combining the four above scales yields the minor pentachord on the bottom and all the chromatics between the 5th and the octave.
	www.jeffreebrent.com /Lessons/minors.html (1949 words)

	Diagrams of modalities
		Diagrams of 12-tone system modalities and some their parts (Greek scales tetrachords and middle age scales pentachords and hexachords).
		We would like to display structure of modality in a simple way.
		The diagrams of modalities should be also useful for displaying structures of more complicated modalities (modalities of systems with order greater then 12) or tuning systems.
	www.sweb.cz /vladimir_ladma/english/music/structs/mus_dia.htm (205 words)

	Title page for ETD etd-04092004-181309
		The baritone’s final lines are set to the descending pentachord.
		The emotional impact of the texts used is paramount.
		shapes that rarely stray outside the initial pentachord aid in the comprehensibility of the text.
	etd.lib.fsu.edu /theses/available/etd-04092004-181309 (446 words)

	pentachord - a musical perfect-5th interval divided into 5 tones
		pentachord - a musical perfect-5th interval divided into 5 tones
		In musical practice, most pentachords consist of a tetrachord with a whole tone added at either the top or bottom.
		, a tone 9/8 below the tonic to the Chromatic and Enharmonic Dorian modes converts the scale from two disjunct tetrachords separated by a 9/8 in one octave to one consisting of two conjunct pentachords spanning a Major Ninth (9/4).
	tonalsoft.com /enc/p/pentachord.aspx (296 words)

	Music Forum - D minor
		Most pentachords consist of a tetrachord with a whole tone added at either the top or bottom.
		The addition of Hyperhypate, a tone which is 9/8 below the tonic to the Chromatic and Enharmonic Dorian modes converts the scale from two disjunct tetrachords separated by a 9/8 in one octave to one consisting of two conjunct pentachords spanning a Major Ninth (9/4).
		10-28-2004 09:48 PM Anyway, my point was that (in modern music using 12 pitch classes) a pentachord can consist of any 5 pitch classes from 1-12.
	www.radiomute.com /printthread.php?t=16414&pp=40 (1171 words)

	VAMS MUSIC TeacherWeb Curriculum (Site not responding. Last check: 2007-11-05)
		They are taught using the Gordon method of solfege and rhythmic activities.
		In addition, they use the Yamaha Music in Education program and work at the keyboards to develop knowledge of music concepts such as call and response, ostinato, staccato/legato, C Major Pentachord and will perform their compositions.
		They use the Yamaha Music in Education program and play in the G Major, D Major, and A Major pentachord as well as play the walking bass and 12 bar blues.
	teacherweb.com /NY/VanAntwerp/MrsRice/h0.stm (353 words)

	Music and the Major Arcana
		From these correspondences we get the Dichord System and the Pentachord System.
		Nevertheless, an ensemble of two (or three) tones does not give much scope for melodic construction (although it might be adequate for chant), so we also have the Pentachord System.
		We pick the two tones according as in the Dichord System, but leave them out of the scale and assign the remaining five tones to the trump.
	www.cs.utk.edu /~mclennan/BA/PT/Music.html (1596 words)

	AV Forums - bandor speakers
		07-04-2005 09:54 AM My main memory of Bandor drive units is some speakers that were made in the 1990's by a small British company called Pentachord.
		The speakers in question were the Pentacolumns and were slim, small floorstanders using 2 x 6" Bandor bass drivers vertically mounted in a push-pull configuration inside a 5 sided cabinet, and 2 of the 2" full range Bandor drivers.
		I still think they are some of the most superb speakers i have ever heard, but i can find no information about the company or what happened to them and have never seen a pair for sale in all the years i have been attending audiofairs and surfing Ebay!!
	www.avforums.com /forums/printthread.php?t=202580 (172 words)

	The Bohlen-Pierce Site: BP Scale Structures (Site not responding. Last check: 2007-11-05)
		In the Lambda scale, the two pentachords are not identical.
		Each pentachord has 5/3 as a frame interval, and each one is formed by a series of two whole tones, one small semitone and one minor semitone.
		with the first group of numbers describing the first pentachord, the last group describing the second pentachord, and the single semitone step in the center indicating their separation.
	members.aol.com /bpsite/scales.html (1781 words)

	Schoenberg, 5 Pieces for Orchestra
		The surface content of the Impressionists and Debussy's favorite expression marking, "tristo e monotono" comes to mind.
		Overlapping timbral changes of a tive-note chord, each of the voices moving up a semitone and down a whole tone - at its own speed arrive at the initial pentachord a semitone lower.
		The entire process is reversed in the reprise, where the motion is a semitone down; and a whole tone upward.
	www.americansymphony.org /dialogues_extensions/92_93season/5th_concert/schoenberg.cfm (1025 words)

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