Timbre in the context of Chiptune

In music, harmony is the concept of combining different sounds in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harmonic objects such as chords, textures and tonalities are identified, defined, and categorized in the development of these theories. Harmony is broadly understood to involve both a "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as melody, timbre, and form.

A particular emphasis on harmony is one of the core concepts underlying the theory and practice of Western music. The study of harmony involves the juxtaposition of individual pitches to create chords, and in turn the juxtaposition of chords to create larger chord progressions. The principles of connection that govern these structures have been the subject of centuries worth of theoretical work and vernacular practice alike.

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.

Musical expression is the art of playing or singing with a personal response to the music.

At a practical level, this means making appropriate use of dynamics, phrasing, timbre and articulation to bring the music to life. Composers may specify these aspects of expression to a greater or lesser extent in the notation of their musical score.

Music can be analysed by considering a variety of its elements, or parts (aspects, characteristics, features), individually or together. A commonly used list of the main elements includes pitch, timbre, texture, volume, duration, and form. The elements of music may be compared to the elements of art or design.

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.

In music, notes are distinct and isolatable sounds that act as the most basic building blocks for nearly all of music. This discretization facilitates performance, comprehension, and analysis. Notes may be visually communicated by writing them in musical notation.

Notes can distinguish the general pitch class or the specific pitch played by a pitched instrument. Although this article focuses on pitch, notes for unpitched percussion instruments distinguish between different percussion instruments (and/or different manners to sound them) instead of pitch. Note value expresses the relative duration of the note in time. Dynamics for a note indicate how loud to play them. Articulations may further indicate how performers should shape the attack and decay of the note and express fluctuations in a note's timbre and pitch. Notes may even distinguish the use of different extended techniques by using special symbols.

A soundboard (or sounding board) is the surface of a string instrument that the strings vibrate against, usually via some sort of bridge. Depending on the instrument, it is also called a top, top plate, resonator, table, sound-table, or belly. It is usually made of a softwood, often spruce.

Pianos, guitars, banjos, and many other stringed instruments incorporate soundboards. The resonant properties of the soundboard and the interior of the instrument greatly increase the loudness of the vibrating strings. "The sound board is probably the most important element of a guitar in terms of its influence on the quality of the instrument's tone [timbre]."

Rapping (also dropping, rhyming, flowing, spitting, emceeing, or MCing) is an artistic form of vocal delivery and emotive expression that incorporates "rhyme, rhythmic speech, and [commonly] street vernacular". It is usually performed over a backing beat or musical accompaniment. The components of rap include "content" (what is being said, e.g., lyrics), "flow" (rhythm, rhyme), and "delivery" (cadence, tone). Rap differs from spoken-word poetry in that it is usually performed off-time to musical accompaniment. It also differs from singing, which varies in pitch and does not always include words. Because they do not rely on pitch inflection, some rap artists may play with timbre or other vocal qualities. Rap is a primary ingredient of hip-hop music, and so commonly associated with the genre that it is sometimes called "rap music".

Precursors to modern rap music include the West African griot tradition, certain vocal styles of blues and jazz, an African-American insult game called playing the dozens (see Battle rap and Diss), and 1960s African-American poetry. Stemming from the hip-hop cultural movement, rap music originated in the Bronx, New York City, in the early 1970s and became part of popular music later that decade. Rapping developed from the announcements made over the microphone at parties by DJs and MCs, evolving into more complex lyrical performances.

Articulation is a musical parameter that determines how a single note or other discrete event is sounded. Articulations primarily structure an event's start and end, determining the length of its sound and the shape of its attack and decay. They can also modify an event's timbre, dynamics, and pitch. Musical articulation is analogous to the articulation of speech, and during the Baroque and Classical periods it was taught by comparison to oratory.

Western music has a set of traditional articulations that were standardized in the 19th century and remain widely used. Composers are not limited to these, however, and may invent new articulations as a piece requires. When writing electronic and computer music, composers can design articulations from the ground up.

In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these.

Variation is often contrasted with musical development, which is a slightly different means to the same end. Variation depends upon one type of presentation at a time, while development is carried out upon portions of material treated in many different presentations and combinations at a time.

In music, texture is how the tempo and the melodic and harmonic materials are combined in a musical composition, determining the overall quality of the sound in a piece. The texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices (see Common types below). For example, a thick texture contains many 'layers' of instruments. One of these layers could be a string section or another brass. The thickness also is changed by the amount and the richness of the instruments playing the piece. The thickness varies from light to thick. A piece's texture may be changed by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmony, tempo, and rhythms used. The types categorized by number and relationship of parts are analyzed and determined through the labeling of primary textural elements: primary melody (PM), secondary melody (SM), parallel supporting melody (PSM), static support (SS), harmonic support (HS), rhythmic support (RS), and harmonic and rhythmic support (HRS).

Traditionally in Western music, a musical tone is a steady periodic sound. A musical tone is characterized by its duration, pitch, intensity (or loudness), and timbre (or quality). The notes used in music can be more complex than musical tones, as they may include aperiodic aspects, such as attack transients, vibrato, and envelope modulation.

A simple tone, or pure tone, has a sinusoidal waveform. A complex tone is a combination of two or more pure tones that have a periodic pattern of repetition, unless specified otherwise.

In music, the dynamics of a piece are the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato.

In music, duration is an amount of time or how long or short a note, phrase, section, or composition lasts. "Duration is the length of time a pitch, or tone, is sounded." A note may last less than a second, while a symphony may last more than an hour. One of the fundamental features of rhythm, or encompassing rhythm, duration is also central to meter and musical form. Release plays an important part in determining the timbre of a musical instrument and is affected by articulation.

The concept of duration can be further broken down into those of beat and meter, where beat is seen as (usually, but certainly not always) a 'constant', and rhythm being longer, shorter or the same length as the beat. In serial music the beginning of a note may be considered, or its duration may be (for example, is a 6 the note which begins at the sixth beat, or which lasts six beats?).

Musical technique is the ability of instrumental and vocal musicians to exert optimal control of their instruments or vocal cords in order to produce the precise musical effects they desire. Improving one's technique generally entails practicing exercises that improve one's muscular sensitivity and agility. Technique is independent of musicality. Compositional technique is the ability and knowledge composers use to create music, and may be distinguished from instrumental or performance technique, which in classical music is used to realize compositions, but may also be used in musical improvisation. Extended techniques are distinguished from more simple and more common techniques. Musical technique may also be distinguished from music theory, in that performance is a practical matter, but study of music theory is often used to understand better and to improve techniques. Techniques such as intonation or timbre, articulation, and musical phrasing are nearly universal to all instruments.

To improve their technique, musicians often practice ear training. For example, musical intervals, and fundamental patterns and of notes such as the natural, minor, major, and chromatic scales, minor and major triads, dominant and diminished sevenths, formula patterns and arpeggios. For example, triads and sevenths teach how to play chords with accuracy and speed. Scales teach how to move quickly and gracefully from one note to another (usually by step). Arpeggios teach how to play broken chords over larger intervals. Many of these components of music are found in difficult compositions, for example, a large tuple chromatic scale is a very common element to Classical and Romantic era compositions as part of the end of a phrase.

A hum (/hʌm/ ) is a sound made by producing a wordless tone with the mouth closed, forcing the sound to emerge from the nose. To hum is to produce such a sound, often with a melody. It is also associated with thoughtful absorption, 'hmm'.

A hum has a particular timbre (or sound quality), usually a monotone or with slightly varying tones. There are other similar sounds not produced by human singing that are also called hums, as the sound produced by machinery in operation, such as a microwave, or by an insect in flight. The hummingbird was named for the sound that bird makes in flight which sounds like a hum.

An organ pipe is a sound-producing element of the pipe organ that resonates at a specific pitch when pressurized air (commonly referred to as wind) is driven through it. Each pipe is tuned to a note of the musical scale. A set of organ pipes of similar timbre comprising the complete scale is known as a rank; one or more ranks constitutes a stop.

Impressionism in music was a movement among various composers in Western classical music (mainly during the late 19th and early 20th centuries) whose music focuses on mood and atmosphere, "conveying the moods and emotions aroused by the subject rather than a detailed tone‐picture". "Impressionism" is a philosophical and aesthetic term borrowed from late 19th-century French painting after Monet's Impression, Sunrise. Composers were labeled Impressionists by analogy to the Impressionist painters who use starkly contrasting colors, effect of light on an object, blurry foreground and background, flattening perspective, etc. to make the observer focus their attention on the overall impression.

The most prominent feature in musical Impressionism is the use of "color", or in musical terms, timbre, which can be achieved through orchestration, harmonic usage, texture, etc. Other elements of musical Impressionism also involve new chord combinations, ambiguous tonality, extended harmonies, use of modes and exotic scales, parallel motion, extra-musicality, and evocative titles such as “Reflets dans l'eau”(“Reflections on the water”), “Brouillards” (“Mists”), etc.