Musical tone in the context of Tonic key

A melody (from Greek μελῳδία (melōidía) 'singing, chanting'), also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include other musical elements such as tonal color. It is the foreground to the background accompaniment. A line or part need not be a foreground melody.

Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjunct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape.

Pitch is a perceptual property that allows sounds to be ordered on a frequency-related scale,or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre.

Pitch may be quantified as a frequency, but pitch is not a purely objective physical property; it is a subjective psychoacoustical attribute of sound. Historically, the study of pitch and pitch perception has been a central problem in psychoacoustics, and has been instrumental in forming and testing theories of sound representation, processing, and perception in the auditory system.

The hertz (symbol: Hz) is the unit of frequency in the International System of Units (SI), often described as being equivalent to one event (or cycle) per second. The hertz is an SI derived unit whose formal expression in terms of SI base units is 1/s or s, meaning that one hertz is one per second or the reciprocal of one second. It is used only in the case of periodic events. It is named after Heinrich Rudolf Hertz (1857–1894), the first person to provide conclusive proof of the existence of electromagnetic waves. For high frequencies, the unit is commonly expressed in multiples: kilohertz (kHz), megahertz (MHz), gigahertz (GHz), terahertz (THz).

Some of the unit's most common uses are in the description of periodic waveforms and musical tones, particularly those used in radio- and audio-related applications. It is also used to describe the clock speeds at which computers and other electronics are driven. The units are sometimes also used as a representation of the energy of a photon, via the Planck relation E = hν, where E is the photon's energy, ν is its frequency, and h is the Planck constant.

In music, timbre (/ˈtæmbər, ˈtɪm-, ˈtæ̃-/), also known as tone color or tone quality (from psychoacoustics), is the perceived sound of a musical note, sound or tone. Timbre distinguishes sounds according to their source, such as choir voices and musical instruments. It also enables listeners to distinguish instruments in the same category (e.g., an oboe and a clarinet, both woodwinds).

In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctive with its own unique tone color. Musicians distinguish instruments based on their varied timbres, even instruments playing notes at the same pitch and volume.

Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period). A musician accomplishes this by interpreting the music—from memory or sheet music—by altering tone, tempo, dynamics, articulation, inflection, and other characteristics. Phrasing can emphasise a concept in the music or a message in the lyrics, or it can digress from the composer's intention, aspects of which are commonly indicated in musical notation called phrase marks or phrase markings. For example, accelerating the tempo or prolonging a note may add tension.

Giuseppe Cambini—a composer, violinist, and music teacher of the Classical period—had this to say about bowed string instruments, specifically violin, phrasing:

Perceptual learning is the learning of perception skills, such as differentiating two musical tones from one another or categorizations of spatial and temporal patterns relevant to real-world expertise. Examples of this may include reading, seeing relations among chess pieces, and knowing whether or not an X-ray image shows a tumor.

Sensory modalities may include visual, auditory, tactile, olfactory, and taste. Perceptual learning forms important foundations of complex cognitive processes (i.e., language) and interacts with other kinds of learning to produce perceptual expertise. Underlying perceptual learning are changes in the neural circuitry. The ability for perceptual learning is retained throughout life.

Ambient music is a genre of music that emphasizes tone and atmosphere over traditional musical structure or rhythm. Often "peaceful" sounding and lacking composition, beat, and/or structured melody, ambient music uses textural layers of sound that can reward both passive and active listening, and encourage a sense of calm or contemplation. The genre evokes an "atmospheric", "visual", or "unobtrusive" quality. Nature soundscapes may be included, and some works use sustained or repeated notes, as in drone music. Bearing elements associated with new-age music, instruments such as the piano, strings and flute may be emulated through a synthesizer.

The genre originated in the 1960s and 1970s, when new musical instruments were being introduced to a wider market, such as the synthesizer. It was presaged by Erik Satie's furniture music and styles such as musique concrète, minimal music, Jamaican dub music and German electronic music, but was prominently named and popularized by British musician Brian Eno in 1978 with his album Ambient 1: Music for Airports; Eno opined that ambient music "must be as ignorable as it is interesting", however, in early years, there were artists that were pioneers in this genre, like Tangerine Dream, Klaus Schulze, Wendy Carlos, Kraftwerk, etc. It saw a revival towards the late 1980s with the prominence of house and techno music, growing a cult following by the 1990s.

A vibration in a string is a wave. Initial disturbance (such as plucking or striking) causes a vibrating string to produce a sound with constant frequency, i.e., constant pitch. The nature of this frequency selection process occurs for a stretched string with a finite length, which means that only particular frequencies can survive on this string. If the length, tension, and linear density (e.g., the thickness or material choices) of the string are correctly specified, the sound produced is a musical tone. Vibrating strings are the basis of string instruments such as guitars, cellos, and pianos. For a homogeneous string, the motion is given by the wave equation.

A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include:

• the diatonic scale; including the major scale and its modes (notably the natural minor scale, or Aeolian mode)
• the melodic minor scale, like the Aeolian mode but with raised 6th and 7th ascending
• the harmonic minor scale, like the Aeolian mode but with raised 7th
• the harmonic major scale, like the major scale but with lowered 6th

Indian classical theory postulates seventy-two seven-tone scale types, collectively called melakarta or thaat, whereas others postulate twelve or ten (depending on the theorist) seven-tone scale types.

In music, the tonic is the first note scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as do. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C.

The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "I" if it is major and by "i" if it is minor.

A tuning fork is an acoustic resonator in the form of a two-pronged fork with the prongs (tines) formed from a U-shaped bar of elastic metal (usually steel). It resonates at a specific constant pitch when set vibrating by striking it against a surface or with an object, and emits a pure musical tone once the high overtones fade out. A tuning fork's pitch depends on the length and mass of the two prongs. They are traditional sources of standard pitch for tuning musical instruments.

The tuning fork was invented in 1711 by British musician John Shore, sergeant trumpeter and lutenist to the royal court.

A tone cluster is a musical chord comprising at least three adjacent tones in a scale. Prototypical tone clusters are based on the chromatic scale and are separated by semitones. For instance, three adjacent piano keys (such as C, C♯, and D) struck simultaneously produce a tone cluster. Variants of the tone cluster include chords comprising adjacent tones separated diatonically, pentatonically, or microtonally. On the piano, such clusters often involve the simultaneous striking of neighboring white or black keys.

The early years of the twentieth century saw tone clusters elevated to central roles in pioneering works by ragtime artists Jelly Roll Morton and Scott Joplin. In the 1910s, two classical avant-gardists, composer-pianists Leo Ornstein and Henry Cowell, were recognized as making the first extensive explorations of the tone cluster. During the same period, Charles Ives employed them in several compositions that were not publicly performed until the late 1920s or 1930s, as did Béla Bartók in the latter decade. Since the mid-20th century, they have prominently featured in the work of composers such as Lou Harrison, Giacinto Scelsi, Alfred Schnittke and Karlheinz Stockhausen, and later Eric Whitacre. Tone clusters also play a significant role in the work of free jazz musicians such as Cecil Taylor, Matthew Shipp, and Kevin Kastning.