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was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well. Most features of
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of the common-practice period. While these later styles incorporate many elements of the tonal vocabulary (such as major and minor chords), the function of these elements is not identical to classical models of counterpoint and harmonic function. For example, in common-practice harmony, a
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position triad built on the fourth degree of the scale (IV), but the reverse of this progression (IV–V) is quite common. By contrast, the V–IV progression is readily acceptable by many other standards; for example, this transition is essential to the
459:, for instance, may both write passages that can be analysed according to the progression I-ii-V-I, despite vast differences in style and context. Such harmonic conventions can be distilled into the familiar
436:", or sometimes the "tonal system" (though whether tonality implies common-practice idioms is a question of debate). Common-practice tonality represents a union between harmonic function and
444:
functions according to its relationship to the tonic (the fundamental pitch of the scale). While diatonicism forms the basis for the tonal system, the system can withstand considerable
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409:; however, the "common" in common practice does not directly refer to any type of harmony, rather it refers to the fact that for over two hundred years only one system was used.
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periods, roughly from 1650 to 1900. There was much stylistic evolution during these centuries, with patterns and conventions flourishing and then declining, such as the
631:(i.e., unstressed), and initial rest rhythmic gestures are used, with anacrustic beginnings and strong endings possibly most frequent and upbeat endings most rare.
638:
after contrasting gestures. There may be one rhythmic gesture almost exclusively throughout an entire composition, but complete avoidance of repetition is rare.
281:
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440:. In other words, individual melodic lines, when taken together, express harmonic unity and goal-oriented progression. In tonal music, each tone in the
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Coordination of the various parts of a piece of music through an externalized metre is a deeply rooted aspect of common-practice music.
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Throughout the common-practice period, certain harmonic patterns span styles, composers, regions, and epochs.
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and other extrametric patterns are usually heard on levels higher than the basic durational unit or pulse.
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confirm the metre, often in metric or even note patterns identical to the pulse on specific metric level.
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is of secondary importance. Durations recur and are often periodic; pitches are generally diatonic.
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pulse groups on all levels: all pulses on slower levels coincide with strong pulses on faster levels
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882:, edited by Richard Peter Delone and Gary Wittlich, Englewood Cliffs, New Jersey: Prentice-Hall.
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of a limited number of rhythmic units, sometimes based on a single or alternating pair.
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762:, edited by Gary Wittlich, pp. 270–301. Englewood Cliffs, New Jersey: Prentice-Hall.
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Kliewer, Vernon (1975). "Melody: Linear
Aspects of Twentieth-Century Music". In
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381:(the accepted concepts of composition during this time) persisted from the mid-
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progression's last line (V–IV–I–I), which has become the orthodox ending for
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Various popular idioms of the twentieth century differ from the standardized
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903:"No Common Practice: The New Common Practice and its Historical Antecedents"
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Metre and pulse groups that, once established, rarely change throughout a
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865:. Dubuque, Iowa: William C. Brown Publishers. Cited in Robert M. Baker, "
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Small or moderate duration complement and range, with one duration (or
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777:"Mode and Tempo in Western Classical Music of the Common-Practice Era"
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London, Justin (2001). "Rhythm, §II: Historical
Studies of Rhythm".
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The harmonic language of this period is known as "common-practice
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398:
397:. The most prominent unifying feature throughout the period is a
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Winold, Allen (1975). "Rhythm in
Twentieth-Century Music". In
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846:. Berkeley and Los Angeles: University of California Press.
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Harbison, John (1992). "Symmetries and the 'New
Tonality'".
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Tempo, beat length, and measure length chosen to allow one
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at all levels, with the fastest levels rarely being extreme
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patterns are signatures of certain styles or composers.
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of the scale (V) is unlikely to progress directly to a
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with which musicians analyse and compose tonal music.
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526:, in two-pulse or three-pulse groups, most often two
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at the expense of the original last line (V–V–I–I).
372:was the period of about 250 years during which the
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321:but its sources remain unclear because it lacks
824:The New Grove Dictionary of Music and Musicians
448:alteration without losing its tonal identity.
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656:are of primary importance in common practice
634:Rhythmic gestures are repeated exactly or in
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352:Learn how and when to remove this message
861:Tanner, Paul, and Maurice Gerow (1984).
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27:Music history period (c. 1650 to 1900)
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549:throughout a composition or section
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880:Aspects of Twentieth-Century Music
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834:. London: Macmillan Publishers.
556:throughout the piece or section
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512:Clearly enunciated or implied
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775:KoneÄŤni, Vladimir J. (2009).
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867:A Brief History of the Blues
826:, second edition, edited by
407:Roman numeral chord analysis
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784:Empirical Musicology Review
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606:patterns, though specific
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627:Thetic (i.e., stressed),
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70:Transition to Renaissance
1236:Unruly audience response
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307:This article includes a
940:Western classical music
682:Tanner & Gerow 1984
336:more precise citations.
189:Transition to Modernism
137:Transition to Classical
36:Western classical music
1453:Common practice period
1038:Transition to Romantic
968:Major periods and eras
844:The Listening Composer
370:common practice period
163:Transition to Romantic
110:Common practice period
994:Transition to Baroque
453:Johann Sebastian Bach
96:Transition to Baroque
1326:Worldwide traditions
1279:Classical music blog
1178:Students by teacher
905:(February 1, 2004).
792:10.18061/1811/36604
568:typically include:
566:Durational patterns
508:generally include:
475:built on the fifth
385:period through the
250: •
245: •
871:TheBlueHighway.com
504:, common practice
490:blues progressions
468:chord progressions
461:chord progressions
424:Functional harmony
413:Technical features
401:language to which
309:list of references
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1403:
1299:Progressive music
1093:
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901:Benjamin Piekut,
888:978-0-13-049346-0
642:Composite rhythms
622:Rhythmic gestures
506:metric structures
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33:Major eras of
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1321:Third stream
1284:Experimental
1115:Porto Alegre
1085:21st-century
1080:20th-century
1075:Contemporary
1023:
1005:
879:
870:
862:
843:
832:John Tyrrell
823:
811:. Retrieved
804:the original
783:
759:
745:(2): 71–79.
742:
738:
723:, chapter 4)
721:Kliewer 1975
715:
710:, chapter 3)
702:
697:, chapter 3)
689:
676:
662:tone quality
648:Patterns of
647:
608:contrametric
564:
524:pulse groups
502:Rhythmically
499:
465:
450:
438:counterpoint
431:
378:
374:tonal system
369:
364:In European
363:
348:
339:
328:Please help
320:
252:21st-century
247:20th-century
230:Contemporary
109:
1396:WikiProject
1289:Light music
1274:Baroque pop
1269:Avant-garde
1224:Performance
989:Renaissance
976:Early music
813:17 February
708:Winold 1975
695:Winold 1975
612:extrametric
604:intrametric
588:, or other
578:pedal tones
545:Consistent
540:Synchronous
535:composition
473:major triad
395:sonata form
334:introducing
239: 1945
223: 1890
80:Renaissance
43:Early music
1309:Film score
1304:Soundtrack
1243:Conducting
1162:Birmingham
1098:By country
947:Definition
800:1811/36604
731:References
629:anacrustic
422:See also:
1354:Festivals
1253:Orchestra
1105:Australia
1070:Modernism
1062:New music
1033:Classical
954:Art music
636:variation
590:ornaments
446:chromatic
387:Classical
366:art music
342:June 2022
214:Modernism
203:New music
147:Classical
1447:Category
1376:Category
1045:Romantic
984:Medieval
842:(1990).
660:, while
654:duration
616:Triplets
586:tremolos
561:Duration
434:tonality
399:harmonic
391:Romantic
173:Romantic
54:Medieval
1409:Portals
1366:Outline
1262:Related
1231:Concert
1137:Ireland
1132:Germany
1014:Baroque
531:section
418:Harmony
383:Baroque
330:improve
121:Baroque
1386:Portal
1344:Genres
1215:T to Z
1210:R to S
1205:N to G
1200:K to M
1195:G to J
1190:C to F
1185:A to B
1152:Russia
1147:Kosovo
1127:France
1122:Canada
1110:Brazil
1019:Galant
886:
850:
766:
658:melody
600:metric
582:trills
520:Metres
496:Rhythm
477:degree
368:, the
1435:Music
1339:Lists
1142:Italy
807:(PDF)
780:(PDF)
684:, 37)
668:Notes
650:pitch
574:pulse
547:tempo
522:, or
514:pulse
315:, or
234:from
218:from
884:ISBN
848:ISBN
830:and
815:2015
764:ISBN
652:and
481:root
455:and
426:and
389:and
869:".
796:hdl
788:doi
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