Musical techniques

A remix, also sometimes called reorchestration or rework, is a piece of media which has been altered or contorted from its original state by adding, removing, or changing pieces of the item. A song, piece of artwork, book, poem, or photograph can be remixes. The only necessary characteristic of a remix is that it appropriates and changes other materials to create something new.

In music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". It is the correlation of at least two sets of time intervals.

In music, a glissando (; plural: glissandi, abbreviated gliss.) is a glide from one pitch to another (). It is an Italianized musical term derived from the French glisser, "to glide". In some contexts, it is equivalent to portamento, which is a continuous, seamless glide between notes. In other contexts, it refers to discrete, stepped glides across notes, such as on a piano. Some terms that are similar or equivalent in some contexts are slide, sweep bend, smear, rip (for a loud, violent glissando to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure

The Liber responsorialis, showing on the right-hand page the antiphons for the first Matins|night office of Christmas. The associated [[psalm tones are indicated by number and ending pitch, and the pitches for the ending of the doxology are indicated by the mnemonic Euouae.|thumb]]

form of electroacoustic music

Organum () is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or bourdon) may be sung on the same text, the melody may be followed in parallel motion (parallel ), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect f

operation in music of moving multiple notes by the same interval

thumb|upright=1.2|Tremolo notation (denoting rapid repetition) In music, tremolo (), or tremolando (), is a trembling effect. There are multiple types of tremolo. It is either the rapid repetition of a note, alternation between two different notes, or variation in volume.

harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece

song or composition created by blending two or more pre-recorded songs

Jazz technique

thumb|right|DJ Qbert manipulating a record turntable at a turntablism competition in [[Lyon in 2006]] thumb|World premiere of the Tri-Phonic Turntable, July 14, 1997, London thumb|right|230px|Record producer DJ Jazzy Jeff|Jazzy Jeff manipulating a record turntable in England in 2005. Turntablism is the art of manipulating sounds and creating new music, sound effects, mixes and other creative sounds and beats, typically by using two or more turntables and a cross fader-equipped DJ mixer. The mixer is plugged into a PA system (for live events) or broadcasting equipment (if the DJ is performing o

pre-existing melody forming the basis of a polyphonic composition

Fauxbourdon (also fauxbordon, and also commonly two words: faux bourdon or faulx bourdon, and in Italian falso bordone) – French for false drone – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. Guillaume Du Fay was a prominent practitioner of the form (as was John Dunstaple), and may have been its inventor. The homophony and mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood clearly.

increasing audio levels in recorded music

music production effect

catchy musical passage or riff/refrain

In music, hemiola (also hemiolia) is the ratio 3:2. The equivalent Latin term is sesquialtera. In rhythm, hemiola refers to three beats of equal value in the time normally occupied by two beats. In pitch, hemiola refers to the interval of a perfect fifth.

jazz piano style

succession of two distinct phrases usually played by different musicians (in music)

thumb|upright=1.4|Transcription in modern notation of the isorhythmic tenor voice from the opening of the Kyrie of [[Guillaume de Machaut's Messe de Nostre Dame (c. 1360). A color of 28 pitches is arranged with a talea of four durations which repeats seven times (28 ÷ 4 = 7).]] Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores, which may be of the same or a different

in music

Tintinnabuli (from Latin tintinnabulum, a kind of bell, plural tintinnabula(Wiktionary)) is a compositional style created by the Estonian composer Arvo Pärt, introduced in his Für Alina (1976), and used again in Spiegel im Spiegel (1978). This simple style was influenced by the composer's mystical experiences with chant music. Musically, Pärt's tintinnabular music is characterized by two types of voice, the first of which (dubbed the "tintinnabular voice") arpeggiates the tonic triad, and the second of which moves diatonically in mostly stepwise motion. The works often have a slow and meditati

musical cadence that uses a major chord to end a minor-key piece

instrumental or percussion section during a musical composition

In music, hocket is a rhythmic and linear technique involving the alternation of notes, pitches, or chords. In medieval practice, a single melody is shared between two (or occasionally more) voices such that one voice sounds while the other rests, creating a staggered, interlocking texture.

style of jazz performance

composition generally of humorous or satirical intent in which turns of phrase or other features characteristic of another composer or type of composition are employed and made to appear ridiculous

short musical passage, riff, or rhythmic sound

Overblowing is the manipulation of supplied air through a wind instrument that causes the sounded pitch to jump to a higher one without a fingering change or the operation of a slide. Overblowing may involve a change in the air pressure, in the point at which the air is directed, or in the resonance characteristics of the chamber formed by the mouth and throat of the player. (The latter is a feature of embouchure.)

type of musical composition involving a continuous stream of notes and (often indefinite) repetition

part of a song in which various instruments have solo parts (breaks)

early Baroque music style where the melody is shared between different groups

musical technique of writing music that reflects the literal meaning of a song

music term; using a melody, or portions of a melody, from a previously recorded song but re-recording the melody instead of sampling it

cryptogrammatic sequence of musical notes

Polystylism is the use of multiple styles or techniques in literature, art, film, or, especially, music.

Plunderphonics is a music genre in which tracks are constructed by sampling recognizable musical works. The term was coined by composer John Oswald in 1985 in his essay "Plunderphonics, or Audio Piracy as a Compositional Prerogative", and eventually explicitly defined in the liner notes of his Grayfolded album. Plunderphonics is a form of sound collage. Oswald has described it as a referential and self-conscious practice which interrogates notions of originality and identity.

set patterns of long and short durations in medieval European music

music genre

alt=Detail from "Farben", 3rd movement of Arnold Schoenberg's Fünf Orchesterstücke Op. 16 (1909).|thumb|Detail from "Farben", 3rd movement of Arnold Schoenberg's Fünf Orchesterstücke Op. 16 (1909). Klangfarbenmelodie (German for "sound-color melody") is a musical concept that treats timbre as a melodic element. Arnold Schoenberg originated the idea. It has become synonymous with the technique of fragmenting a melodic line between different timbres.

stock pattern or phrase in music consisting of a short series of notes

thumb|350px|Olivier Messiaen's unordered series for pitch, duration, dynamics, and articulation from the pre-serial ''Mode de valeurs et d'intensités, upper division only—which [[Pierre Boulez adapted as an ordered row for his Structures I'']]

Sound effect

point in music score where rhythm suddenly changes

In medieval and early Renaissance English polyphonic music, gymel (also gimel or gemell) is the technique of temporarily dividing up one voice part, usually an upper one, into two parts of equal range, but singing different music. Often the two voices sing a passage of intricate polyphony, beginning and finally converging on a unison, and often, but not always, the other voices drop out for a time.

passage of notes played in reverse

music term and genre; technique where newly branded sound objects or compositions, including songs, are created from collage

thumb|right|260px|A clavichord thumb|280px|Clavichord action Bebung (German: a trembling; ) is a type of vibrato executed on the clavichord.

thumb|Robert Fripp, on tour with [[King Crimson, in 1974]]

In music rondellus is the formalized interchange of parts or voices according to a scheme, often used in English conducti and frequently in English motets of the late thirteenth and early fourteenth centuries, but never used for an entire piece . For example:

thumb|V of V in C, four-part harmonyFile:V of V in C four-part harmony.midIn music, tonicization is the treatment of a pitch other than the overall tonic (the "home note" of a piece) as a temporary tonic in a composition. In tonal music, pieces (or sections) are in a key. This means that the tonic chord has a corresponding dominant chord (e.g., in the key of C major, the tonic chord is C major and the dominant chord is G major or G7). The dominant chord, especially if it is a dominant seventh chord, is said to resolve to (or leading to) the tonic, due to the leading note in the dominant chord

Ladishah (also spelled Ladi Shah or Laddi Shah) is a storytelling musical genre originated in Jammu and Kashmir with its roots in traditional and humorous folk singing originally sung by minstrels while locally wondering from one place to another. It is usually sung in Kashmiri language to express anguish or to entertain people in a rhythmic form primarily revolves around political, social and cultural issues in the form of ballad or melodious satire. It is identified when an entertainer raises their concerns in the form of humorous and melody singing without a voice break at some occurrences.