सेमीटोन इसके अंग्रेजी अर्थ का उदाहरण

The song modulates up a semitone (from A to A natural).

Sturt Football Club players In music a distance model is the alternation of two different intervals to create a non-diatonic musical mode such as the 1:3 distance model, the alternation of semitones and minor thirds: C-E-E-G-A-B-C.

Mistuning is also the displacement of a pitch a semitone away from its standard position in a stable tonal structure such as the most common perfect fourth or fifth, which mistuned in the opposite directions produce a tritone.

A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.

The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone:.

The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones:.

And the fourth subset (C C A) being the inverse of the first, transposed up one semitone:.

The pattern of transposition may be either by a repeated interval, an interval cycle, or a stepwise line of whole tones and semitones.

In a meantone tuning, we have different chromatic and diatonic semitones; the chromatic semitone is the difference between C and C#, and the diatonic semitone the difference between C and Db.

In Pythagorean tuning, the diatonic semitone is often called the Pythagorean limma and the chromatic semitone Pythagorean apotome, but in Pythagorean tuning the apotome is larger, whereas in 1/4-comma meantone the limma is larger.

In any meantone or Pythagorean tuning, a whole tone is composed of one semitone of each kind, a major third is two whole tones and therefore consists of two semitones of each kind, a perfect fifth of meantone contains four diatonic and three chromatic semitones, and an octave seven diatonic and five chromatic semitones, it follows that:.

Five fifths down and three octaves up make up a diatonic semitone, so that the Pythagorean limma is tempered to a diatonic semitone.

Two fifths up and an octave down make up a whole tone consisting of one diatonic and one chromatic semitone.

Four fifths up and two octaves down make up a major third, consisting of two diatonic and two chromatic semitones, or in other words two whole tones.

An interval of a seventeenth, consisting of sixteen diatonic and twelve chromatic semitones, such as the interval from D4 to F6, can be equivalently obtained using either.