Cabalistic numerological symbolism early music influencesa method of embedding hidden messages in music, by using a code of numbers based on which notes are used, their durations, arrangement, subdivision, etc., whereby the composer made symbolic referrence to specific persons, places, or things and/or events in some way associated with the music

Cadence in Music Harmony: in most Western and Western-influenced music (including jazz and "world" musics), harmony is by far the most important signal of cadence. The most fundamental "rule" of the major-minor harmony system is that music ends on the tonic. A tonal piece of music will almost certainly end on the tonic, although individual phrases or sections may end on a different chord (the dominant is a popular choice). But again, you cannot just throw in a tonic chord and expect it to sound like an ending; the music must "lead up to" the ending and make it feel inevitable (just as a good story makes the ending feel inevitable, even if it's a surprise). So the term cadence, in tonal music, usually refers to the ending chord plus the chord or two immediately before it that led up to it. There are lots of different terms for the most common tonal cadences; you will find the most common terms below. Some (but not all) modal musics also use harmony to indicate cadence.

Cadence in Music Melody: in the major/minor tradition, the melody will normally end on some note of the tonic chord triad, and a melody ending on the tonic will give a stronger (more final-sounding) cadence than one ending on the third or fifth of the chord. In some modal musics, the melody plays the most important role in the cadence. Like a scale, each mode also has a home note, where the melody is expected to end. A mode often also has a formula that the melody usually uses to arrive at the ending note. For example, it may be typical of one mode to go to the final note from the note one whole tone below it; whereas in another mode the penultimate note may be a minor third above the final note. (Or a mode may have more than one possible melodic cadence, or its typical cadence may be more complex.)

Cadence in Music Form: since cadences mark off phrases and sections, form and cadence are very closely connected, and the overall architecture of a piece of music will often indicate where the next cadence is going to be - every eight measures for a certain type of dance, for example. (When you listen to a piece of music, you actually expect and listen for these regularly-spaced cadences, at least subconsciously.)

Call and Response Adjacent the response follows immediately after the call section.

Overlapping the response begins before the call section has concluded.

Interlocking a continuous response with a counter solo passage over it, so that the call and response are 'locked' together.

Response Each principle applies on a wind-instrument, a combination of the amount of air resistance, efficiency of sound production, and other aspects of playability and player comfort.

Amanes: Legacy of the Oriental Mother Amanes vocal improvisations part of a late Ottoman musical tradition, that became one of the early twentieth-century Café-aman musical styles. One particular commentator has called them "a cry of bitterness that rose from their innermost being and spelled, to singer and audience, the Orient they had been forced to abandon", a reference to the uprooting of populations that followed the Turko-Greek War of 1920-1922. However, the privation and resentment experienced before and during the Second World War saw itself expressed more effectively in the Piraeus rebetika, with their generally unsentimental lyrics, their strident combination of bouzouki and baglama, and their male dances, which seemed more suited to represent the public mood of suppressed anger than the nostalgic Asia Minor amanedhes.

Meantone Scale Meantone Temperament or mean-tone scale, the most common form of meantone temperament tunes all the major thirds to the just ratio of 5:4 (so, for instance, if A is tuned to 440 Hz, C#' is tuned to 550 Hz). This is achieved by tuning the perfect fifth a quarter of a syntonic comma flatter than the just ratio of 3:2. It is this that gives the system its name of quarter-comma meantone or 1/4-comma meantone. Another way of describing quarter comma meantone is to notice that the Pythagorean 3-limit scale has been tempered to fit the 5-limit meantone scale by removing the fourth root of the Pythagorean comma from each interval in a chain of four fifths. So in this case 'meantone' is really 'quarter-comma meantone', i.e. (81/80)(1/4)

Meantone Scale Common though quarter-comma meantone is the most common, other systems which flatten the fifth by differing amounts but which still equate the major whole tone, which in just intonation is 9/8, with the minor whole tone, tuned justly to 10/9, are also called meantone systems. Since (9/8) / (10/9) = (81/80), the syntonic comma, the fundamental character of a meantone tuning is that all intervals are generated from fifths, and the syntonic comma is tempered to a unison. While the term meantone temperament refers primarily to the tempering of 5-limit musical intervals, optimum values for the 5-limit also work well for the 7-limit, defining septimal meantone temperament..

Varied Meantones can be specified in various ways. We can, as above, specify by what fraction (logarithmically) of a syntonic comma the fifth is being flattened, what equal temperament has the meantone fifth in question, or what the ratio of the whole tone to the diatonic semitone is. This ratio was termed "R" by American composer, pianist and theoretician Easley Blackwood, but in effect has been in use for much longer than that. It is useful because it gives us an idea of the melodic qualities of the tuning, and because if R is a rational number, so is (3R+1)/(5R+2), which is the size of fifth in terms of logarithms base 2, and which immediately tells us what division of the octave we will have. If we multiply by 1200, we have the size of fifth in cents.

Extended Meantones a chromatic scale still matters Meantone, in general, has an indefinite number of notes in each octave, that is, seven natural notes, seven sharp notes (F♯ to B♯), seven flat notes (B♭ to F♭), double sharp notes, double flat notes, and so on. (The exception is when the meantone temperament is also equal temperament. There are only so many different notes, for example, 19 or 31; further ones are just duplicates.) Almost all problems are caused by a restriction to twelve notes per octave. For example, if we want a piano to play in C minor, we need three flat notes (B♭, E♭, A♭); if we want a piano to play in A major, we need three sharp notes (F♯, C♯, G♯). But this is already a problem since the keys for A♭ and G♯ should occupy the same place. Another way to solve the problem of the wolf fifth is to forsake enharmonic equivalence (so, for example, G♯ and A♭ are actually different pitches) and use a temperament with more than 12 pitches to the octave. This is known as extended meantone. Its advantage is the ability to modulate into arbitrarily distant keys without wolf fifths, but an obvious disadvantage is the necessity of using instruments capable of playing more than twelve pitches in an octave, such as fretless string instruments, lutes with tied frets, or modified keyboard instruments with extra keys, like the archicembalo. The existence of the "wolf fifth" is one of the reasons why, before the introduction of well temperament, instrumental music generally stayed in a number of "safe" tonalities that did not involve the "wolf fifth" (which was generally put between G♯/A♭[G sharp/A flat] and D♯/E♭[D sharp/E flat]). Some period harpsichords and organs have split D♯/E♭[D sharp/E flat] keys, such that both Emajor/C♯minor [E major/C sharp minor](4 sharps) and E♭major/Cminor[E flat major/C minor] (3 flats) can be played without wolf fifths.

Mediant's Role Mediant's Role mediant also refers to a relationship between musical keys. For example, relative to the key of C minor, the key of E flat major is the mediant, and often serves as a mid-way point between I and V (hence the name). Tonicization or modulation to the mediant is quite common in pieces written in the minor mode, and usually serves as the second theme group in sonata forms, since it is very easy to tonicize III in the minor (for there is no need to use alternate notes). Tonicization of III in the major is quite rare in classical harmony, at least when compared with, for example, modulation to the V in the major, but mediant tonicization in the major is an important feature of late romantic music.

Melismatic Song Melismatic Song in vocal music, where one syllable is set over more than one note, in practise, six or more notes.

Melody an air or tune the horizontal dimension in music, a succession of organized pitches having a definite rhythm, where the vertical dimension arises from the harmony.

Diatonic Diotonic the notes of the major or minor scale, distinct from chromatic.

Leap Leap motion from one pitch to another that is more than a whole tone away.

Phrase Phrase a natural division of the melodic line, comparable to a sentence of speech.

Pitch Pitch the height or depth of a note, i.e. generally expressed in terms of its frequency.

Repeated Notes Repeated Notes reiteration of a note at the same pitch level.

Step Step motion from one scale degree to the next, whether by a semitone or a whole tone.

Unison Unison identity in pitch, for example when all singing or playing the same note.

Telharmonium first synthesizer an early electromechanical instrument, the 'Telharmonium' or 'Teleharmonium' (also known as the 'Dynamophone'), was developed in 1897 by Thaddeus Cahill, lawyer, engineer and entrepreneur. The 'Telharmonium', described in a patent entitled 'Art of and Apparatus for Generating and Distributing Music Electronically', was part of a system where the music was broadcast via telephone lines to restaurants, hotels, and private homes. The sound of the world's first synthesiser was to be listened to using telephone receivers. Today's internet radio is the fulfilment of Cahill's dream.

TemperamentsHistorical Temperaments a tuning is laid out with nothing but pure intervals, leaving the Pythagorean or diatonic comma to fall as it must. A temperament involves deliberately mistuning some intervals to obtain a distribution of the comma that will lead to a more useful result in a given context.

Tunings Solutions just intonation.

Regular Temperaments Solutions where all fifths, except the wolf fifth, are tempered the same way.

Irregular Temperaments Solutions where the quality of the fifths around the circle changes, generally so as to make the more common keys more consonant.

Temperaments Early Temperaments Pythagorean .

Circulating or Closed Temperaments if they allow unlimited modulation, i.e. enharmonics are usable (equal temperament, most irregular temperaments).

Non-circulating or Open Temperaments if they do not allow unlimited modulation (tunings, most regular temperaments).

Understanding Temperaments Choice uiuoe ooueee uuuu ioui u iu uu ueii iuaeo euuie iioai ieeuiii oooeoia ie aaauuee iiau ieoiu uea iee iaeui eeouuae ieeuo eau i eiueii uoioa eeo uu.

Needs Choice the needs of the music (harmonic vs melodic, modulations).

Tastes Choice the tastes of the musicians and listeners.

Instrument Choice the instrument to be tuned (organ vs harpsichord - tuning the former is much more work so one needs a more convenient solution).

Aesthetic Choice aesthetic (Gothic's tense thirds and pure fifths vs the stable, pure thirds of the Renaissance and Baroque).

Theory Choice theoretical considerations.

Tunability Choice ease of tuning (equal temperament is one of the more difficult).

Temperament Unit Commas and TUs TU notation is a logarithmic system similar to that of 'cents', but designed to be easier to understand and use when working with divisions of the commas. A TU is defined as 1/720th of the interval of a Pythagorean comma; so that, -720 TU must be distributed among the twelve fifths in a 'circle of fifths' to remove the comma. Other benefits include the fact that the other important comma (syntonic comma) is close 660 TU, and the difference between the two commas (the 'schisma') is almost exactly 60. All three are divisible by 1, 2, 3, 4, 5, 6, and 12, divisors commonly used to describe most temperaments. Indded, most temperaments can be described in TUs using only integer values. There are 36828.6282 TU in an octave .

Tempo Tempo Markings in 15th-century dance, one full division of time within a ballo, in which case one tempo equals one 'measure'

Prestissimo prestissimo above 200 bpm

Presto presto 144 - 200 bpm

Vivacissimo vivacissimo above 170 bpm

Vivace/Vivo vivace/vivo 126 - 170 bpm

Allegro allegro 120 - 150 bpm

Allegretto allegretto 108 - 120 bpm

Moderato moderato 108 - 120 bpm

Andantino andantino 80 - 105 bpm

Andante andante may be quicker or slower than andante

Adagio adagio 60 - 90 bpm

Lento lento 55 - 76 bpm

Larghetto larghetto 52 - 65 bpm

Largo largo 45 - 60 bpm

Grave grave 40 - 45 bpm