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  • noun

Synonyms for semitone

the musical interval between adjacent keys on a keyboard instrument

References in periodicals archive ?
Try this: Sing a one-octave major scale in any octave beginning on C and note the B to C semitone as you reach the top of the scale.
Note without accidentals 1,7 may sound 1 or 2 semitones when "same" note occurs close higher or lower than before with accidental expected 13.
The first phrase, then, introduces four normative musical ideas: the prominence of the F[MUSICAL NOTES NOT REPRODUCIBLE IN ASCII]-G[MUSICAL NOTES NOT REPRODUCIBLE IN ASCII] dyad, the dialectic of semitone versus whole-tone melodic motion, the association of octatonic harmony with stability, and the motive of an upward leap followed by an ascending whole step, accentuated by its distortion at the end of the phrase.
For example, the interval of G to G-sharp was a minor or chromatic semitone, while G to A-flat was a major or diatonic semitone.
Intonation in semitone passages troubled soprano Natalie Clifton-Griffith, and tenor Mark Wilde was disappointingly bedevilled with straining for top notes and uneven phrasing.
Further expansions of this approach can introduce still other "hidden" factors into the standard equations representing the chromatic scale or harmonic frequency patterns: these factors are hidden when their regular values in ordinary use (such as the twelfth-root-of-two value for dividing the octave into twelve equidistant steps, or integer values for the multiplications that determine the harmonics of a fundamental frequency) are 1 (if multipliers) or 0 (if exponents or if added), hence they have no effect, and are not even included in the standard mathematical representations of the semitone or of harmonics.
In an explanation of why we call a semitone a semitone, when Pythagorean arithmetic forbids it to be a literal half, the Paris scribe wrote nonsensically: 'qui a musicis semitonium unanimiter appellatur, non quia semis, quod est dimidium, sed semis, quod est perfectum'.
Since most of the exercises are repeated in semitone intervals, there is adequate opportunity to permute through the basic vowel set /a/, /e/, /i/, /o/, /u/.
And it isn't a subjective assessment: at 78rpm, four revolutions a minute is about a semitone difference, and it does render a disservice to some of the singers.
In each phase, the tone A moves successively a semitone upward, during which exchanges between the phases can occur (A-B-A#-C#-D-C-D#-E-F#-F-G#-G-A-A), and at the end reaches its upper octave.
The much higher pitch (even raised a semitone in some movements) and closer acoustic opted for here only serve to emphasize the very direct English choral sound.
What evidence there is suggests that pitch in England during most of the seventeenth century, though variable, was on average about a semitone higher than today, before dropping by something approaching a tone by the early eighteenth century.
1) Rising transposition of the semitone interval between the top two pitches permits creeping exploration of recovery margins.
The change is heralded by a short syncopated ostinato in the tuba consisting of two rising semitones, a falling fourth, and a final falling semitone; this motive later appears retrograde in another, gentler ostinato pattern.
One of the five steps in the major sixth is a semitone, while the ratio is two in five in the case of the minor sixth.