In music, transposition refers to the process or operation of moving a collection of notes (pitches or pitch classes) up or down in pitch by a constant interval.
The shifting of a melody, a harmonic progression or an entire musical piece to another key, while maintaining the same tone structure, i.e. the same succession of whole tones and semitones and remaining melodic intervals.
For example, one might transpose an entire piece of music into another key. Similarly, one might transpose a tone row or an unordered collection of pitches such as a chord so that it begins on another pitch.
The transposition of a set A by n semitones is designated by Tn(A), representing the addition (mod 12) of an integer n to each of the pitch class integers of the set A. Thus the set (A) consisting of 0–1–2 transposed by 5 semitones is 5–6–7 (T5(A)) since 0 + 5 = 5, 1 + 5 = 6, and 2 + 5 = 7.
In scalar transposition, every pitch in a collection is shifted up or down a fixed number of scale steps within some scale. The pitches remain in the same scale before and after the shift. This term covers both chromatic and diatonic transpositions as follows.
Chromatic transposition is scalar transposition within the chromatic scale, implying that every pitch in a collection of notes is shifted by the same number of semitones. For instance, transposing the pitches C4–E4–G4 upward by four semitones, one obtains the pitches E4–G4–B4.
Diatonic transposition is scalar transposition within a diatonic scale (the most common kind of scale, indicated by one of a few standard key signatures). For example, transposing the pitches C4–E4–G4 up two steps in the familiar C major scale gives the pitches E4–G4–B4. Transposing the same pitches up by two steps in the F major scale instead gives E4–G4–B4.
There are two further kinds of transposition, by pitch interval or by pitch interval class, applied to pitches or pitch classes, respectively. Transposition may be applied to pitches or to pitch classes.
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Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900. These terms may mean different things in different contexts. Very often, diatonic refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B.
Musical set theory provides concepts for categorizing musical objects and describing their relationships. Howard Hanson first elaborated many of the concepts for analyzing tonal music. Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, drawing on the twelve-tone theory of Milton Babbitt. The concepts of musical set theory are very general and can be applied to tonal and atonal styles in any equal temperament tuning system, and to some extent more generally than that.
In music, a pitch class (p.c. or pc) is a set of all pitches that are a whole number of octaves apart; for example, the pitch class C consists of the Cs in all octaves. "The pitch class C stands for all possible Cs, in whatever octave position." Important to musical set theory, a pitch class is "all pitches related to each other by octave, enharmonic equivalence, or both." Thus, using scientific pitch notation, the pitch class "C" is the set {Cn : n is an integer} = {..., C−2, C−1, C0, C1, C2, C3 ...}.
Functional harmony is an integral part of many repertoires in the Western musical practices, including both diatonic and extended tonality. In the latter context, music-theoretical accounts suggest that the three octatonic equivalence classes (OECs) consis ...
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