Armor (music)

See also: Armor

In the Musical theory, the word armor - or braces - indicates a whole of deteriorations joined together with the key , composed, either exclusively of Dièse S, or exclusively of Bémol S - apart from the particular case consisted the change of armor.

the word rightest is braces , whose armor is only one corruption, but this last is of a use more running.

• These deteriorations, called constitutive deteriorations, of which the number can vary from one to seven, always follow one another in the same order.

- Order of the sharps, by ascending fifths: F, C, ground, D, the, semi one, if .

- Order of the flat, by downward fifths: if, semi, D, ground, C, F - are, the inverse order of the precedent.

For example, if there is only one sharp with the key, it will be fa$\backslash \; sharp$ , if there are five of them: fa$\backslash \; sharp$, do$\backslash \; sharp$, sol$\backslash \; sharp$, ré$\backslash \; sharp$ and la$\backslash \; sharp$ ; if there are two flat: si$\backslash \; flat$ and mi$\backslash \; flat$ , if there are four of them: si$\backslash \; flat$, mi$\backslash \; flat$, la$\backslash \; flat$ and ré$\backslash \; flat$ , etc

Effect

Whereas the effect of a accidental weathering is exerted on any of the same note name and of the same height during the measurement where it is placed, the effect of a constitutive deterioration is permanent : during all the carried, it is exerted on all the notes of the same name - even different height - except of course, so meanwhile intervenes a change of armor, or more simply, an accidental weathering modifying the height of the notes concerned.

• Example:

In the example above, the mi$\backslash \; flat$ (constitutive flat) affects all the notes, except the notes N°4 and N°6 because of the accidental natural sign. The N°5 note, although being also a mi$\backslash \; flat$ , is not affected by the mi$\backslash \; natural$ because not located at a different octave.

Function

Constitutive deteriorations have as a function to transpose the diatonic scale natural. Thus, whatever the armor, one will always find in each octave, “ two semitones diatonic isolated alternatively framing two and three let us tons ”.

“ Transposer a melody ” means “ to move this melody in height, without deteriorating its constitution ”. When is transposed, the names of notes change, but the intervals between the notes remain identical, thus avoiding deforming the primitive melody. If the joint intervals of the diatonic scale were identical, the transposition would not deserve long explanations. But as it is known, these intervals can be either of the tons, or of the diatonic semitones, it is thus essential to have recourse to deteriorations so that the exact distance from these intervals is not modified during the transposition.

• Thus each armor will determine its clean range S and its clean Tonalité S. For more details on the armours and their significance compared to the tonality of a piece, to consult the article Tonalité.

• Transpositions of the natural diatonic scale:

Change of armor

Just like the Figuring of measurement, or just like the key , the armor can be modified in the course of a piece. This has as a name: change of armor . It will be noted that in the case of a change of armor, the whole of constitutive deteriorations can contain Bécarre S. a change of armor can occur at the time of a modulation.

See too

Internal bonds

• Deterioration (musical theory)
• Cycle of the seven notes
• Provision of the notes on the range
• diatonic Scale
• theoretical and technical Glossary of the Western music
• Interval (musical theory)
• Representation of the musical symbols in data processing
• Musical theory
• Musical theory and intonation
• tonal System
• Tonality

Simple: Key signature

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