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Τι (ποιος) είναι cadential$508503$ - ορισμός

VOICING OF A TRIAD, SEVENTH CHORD, OR NINTH CHORD WITH THE FIFTH OF THE CHORD IN THE BASS AND THE ROOT A THIRD ABOVE IT
Six-four chord; Second inversion chord; Six four chord; Cadential six four; Cadential six-four; Cadential six-four chord; Cadential six four chord; Six-four; 64 chord

Second inversion         
The second inversion of a chord is the voicing of a triad, seventh chord, or ninth chord in which the fifth of the chord is the bass note. In this inversion, the bass note and the root of the chord are a fourth apart which traditionally qualifies as a dissonance.
plagal cadence         
  • Bach, Prelude in F minor, bars 57–60 with expected conclusion
  • Bach, Prelude in F minor, bars 57–60 with expected conclusion
  • Bach, Prelude in F minor bars 57–70
  • Bach, Prelude in F minor bars 57–70
  • Bach Toccata in F, BWV 540 bars 197–207
  • Bach Toccata in F, BWV 540 bars 197–207
  • Beethoven Piano Sonata 21, 1st movement, bars 78–84
  • Beethoven Piano Sonata 21, 1st movement, bars 78-84
  • Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
  • Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
  • Beethoven Presto from Quartet Op. 130
  • Beethoven Presto from Quartet Op. 130
  • Chopin Fantaisie in F minor, Op. 49
  • Chopin Fantaisie in F minor, Op. 49
  • Debussy, La Fille aux cheveux de lin, bars 26–29
  • Debussy, La Fille aux cheveux de lin, bars 26–29
  • Debussy La Fille aux Cheveux de Lin, bars 1-4
  • Debussy la Fille aux cheveux de lin, bars 1-4
  • Dvořák Slavonic Dance Op 72, No. 2
  • Dvořák Slavonic Dance Op 72, No. 2
  • From Bach chorale, Wachet auf
  • From Bach chorale, Wachet auf
  • Handel, Messiah, Hallelujah Chorus closing bars
  • Handel, Messiah, Hallelujah Chorus closing bars
  • Mozart Fantasia on D minor K397 closing bars
  • Mozart Fantasia on D minor K397 closing bars
  • Mozart Romanze from Piano Concerto 20
  • Mozart Romanze from Piano Concerto 20
  • Wagner, Tristan, Liebestod closing bars
  • Wagner, Tristan, Liebestod closing bars
MELODIC AND/OR HARMONIC CONFIGURATION AT THE END OF A PHRASE, SECTION, OR PIECE OF MUSIC
Perfect authentic cadence; Authentic cadence; Plagal cadence; Half cadence; Deceptive cadence; Perfect cadence; Cadence music; Deceptive Cadence; Full cadence; Trugschluss; Unvollkommene Kadenz; Plagalschluss; Authentischer Schluss; Imperfect cadence; Feminine cadence; Cadences; Imperfect authentic cadence; Ganzschluss; Masculine cadence; Harmonic cadence; Full close; Open cadence; Closed cadence; Phrygian cadence; Phrygian progression; Phrygian half cadence; Deceptive resolution; Rhythmic cadence; Clausula vera; Interior cadence; Evaded cadence; Interrupted cadence; Half close; False close; Demi-cadence; Inverted cadence; Church cadence; Irregular cadence; Surprise cadence; Abrupt cadence; Amen cadence; Avoided cadence; Broken cadence; Complete cadence; Greek cadence; Strong cadence; Cadential; Plagal Cadence; Amen Cadence; Half close cadence; Minor plagal cadence; Burgundian cadence; Semicadence; Medial cadence; Radical cadence; Half-cadence; Kadenz; Kadence; Kaydence; Cadence (music); Semi-cadence; Plagal half cadence; Moravian cadence
¦ noun Music a cadence in which the chord of the subdominant immediately precedes that of the tonic.
perfect cadence         
  • Bach, Prelude in F minor, bars 57–60 with expected conclusion
  • Bach, Prelude in F minor, bars 57–60 with expected conclusion
  • Bach, Prelude in F minor bars 57–70
  • Bach, Prelude in F minor bars 57–70
  • Bach Toccata in F, BWV 540 bars 197–207
  • Bach Toccata in F, BWV 540 bars 197–207
  • Beethoven Piano Sonata 21, 1st movement, bars 78–84
  • Beethoven Piano Sonata 21, 1st movement, bars 78-84
  • Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
  • Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
  • Beethoven Presto from Quartet Op. 130
  • Beethoven Presto from Quartet Op. 130
  • Chopin Fantaisie in F minor, Op. 49
  • Chopin Fantaisie in F minor, Op. 49
  • Debussy, La Fille aux cheveux de lin, bars 26–29
  • Debussy, La Fille aux cheveux de lin, bars 26–29
  • Debussy La Fille aux Cheveux de Lin, bars 1-4
  • Debussy la Fille aux cheveux de lin, bars 1-4
  • Dvořák Slavonic Dance Op 72, No. 2
  • Dvořák Slavonic Dance Op 72, No. 2
  • From Bach chorale, Wachet auf
  • From Bach chorale, Wachet auf
  • Handel, Messiah, Hallelujah Chorus closing bars
  • Handel, Messiah, Hallelujah Chorus closing bars
  • Mozart Fantasia on D minor K397 closing bars
  • Mozart Fantasia on D minor K397 closing bars
  • Mozart Romanze from Piano Concerto 20
  • Mozart Romanze from Piano Concerto 20
  • Wagner, Tristan, Liebestod closing bars
  • Wagner, Tristan, Liebestod closing bars
MELODIC AND/OR HARMONIC CONFIGURATION AT THE END OF A PHRASE, SECTION, OR PIECE OF MUSIC
Perfect authentic cadence; Authentic cadence; Plagal cadence; Half cadence; Deceptive cadence; Perfect cadence; Cadence music; Deceptive Cadence; Full cadence; Trugschluss; Unvollkommene Kadenz; Plagalschluss; Authentischer Schluss; Imperfect cadence; Feminine cadence; Cadences; Imperfect authentic cadence; Ganzschluss; Masculine cadence; Harmonic cadence; Full close; Open cadence; Closed cadence; Phrygian cadence; Phrygian progression; Phrygian half cadence; Deceptive resolution; Rhythmic cadence; Clausula vera; Interior cadence; Evaded cadence; Interrupted cadence; Half close; False close; Demi-cadence; Inverted cadence; Church cadence; Irregular cadence; Surprise cadence; Abrupt cadence; Amen cadence; Avoided cadence; Broken cadence; Complete cadence; Greek cadence; Strong cadence; Cadential; Plagal Cadence; Amen Cadence; Half close cadence; Minor plagal cadence; Burgundian cadence; Semicadence; Medial cadence; Radical cadence; Half-cadence; Kadenz; Kadence; Kaydence; Cadence (music); Semi-cadence; Plagal half cadence; Moravian cadence
¦ noun Music a cadence in which the chord of the dominant immediately precedes that of the tonic.

Βικιπαίδεια

Second inversion

The second inversion of a chord is the voicing of a triad, seventh chord, or ninth chord in which the fifth of the chord is the bass note. In this inversion, the bass note and the root of the chord are a fourth apart which traditionally qualifies as a dissonance. There is therefore a tendency for movement and resolution. In notation form, it is referred to with a c following the chord position (For e.g., Ic. Vc or IVc). In figured bass, a second-inversion triad is a 6
4
chord (as in I6
4
), while a second-inversion seventh chord is a 4
3
chord.

Inversions are not restricted to the same number of tones as the original chord, nor to any fixed order of tones except with regard to the interval between the root, or its octave, and the bass note, hence, great variety results.

Note that any voicing above the bass is allowed. A second inversion chord must have the fifth chord factor in the bass, but it may have any arrangement of the root and third above that, including doubled notes, compound intervals, and omission (G-C-E, G-C-E-G', G-E-G-C'-E', etc.)