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distantly

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Definitions of distantly in various dictionaries:

adv - from or at a distance

DISTANTLY - In music, a closely related key is one sharing many common tones with an original key, as opposed to a distantly related key (or "close key" and "dis...

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Possible Crossword Clues
With reserve

Last Seen in these Crosswords & Puzzles
Jun 13 1998 New York Times

Possible Dictionary Clues
In a distant manner.
far away.
from or at a distance
Far away.
far away:
in an unfriendly way, showing no emotion:

Distantly might refer to
In music, a Closely related key is one sharing many common tones with an original key, as opposed to a distantly related key (or "close key" and "distant key"). In music harmony, such a key shares all, or all except one, pitches with a key with which it is being compared, and is adjacent to it on the circle of fifths and its relative major or minor. * Such keys are the most commonly used destinations or transpositions in a modulation, because of their strong structural links with the home key. Distant keys may be reached sequentially through closely related keys by chain modulation, for example C to G to D or C to C minor to E♭ major. For example, "One principle that every composer of Haydn's day [Classical music era] kept in mind was over-all unity of tonality. No piece dared wander too far from its tonic key, and no piece in a four-movement form dared to present a tonality not closely related to the key of the whole series." For example, the first movement of Mozart's Piano Sonata No. 7 (Mozart), K. 309, modulates only to closely related keys (the dominant, supertonic, and submediant).Given a major key tonic (I), the related keys are: * vi (submediant or relative minor): same key signature * IV (subdominant): one less sharp (or one more flat) around circle of fifths * V (dominant): one more sharp (or one fewer flat) around circle of fifths * i (parallel minor): same tonic, different key signature * ii (supertonic, the relative minor of the subdominant) * iii (mediant, the relative minor of the dominant) * Specifically: * * Starting from a minor key (i), the closely related keys are the subdominant minor (iv), the dominant minor (v), the relative major (♭III), and the relative majors of the subdominant and dominant (♭VI and ♭VII). * * Another view of closely related is that there are six closely related keys, based on the tonic and the remaining triads of the diatonic scale, excluding the dissonant leading-tone diminished triad. Four of which differ by one accidental, one with the same key signature, and the parallel modal form. In the key of C major these would be: D minor, E minor, F major, G major, A minor, and C minor. * In modern music, the closeness of a relation between any two keys or sets of pitches may be determined by the number of tones they share in common, which allows one to consider modulations not occurring in standard major-minor tonality. For example, in music based on the pentatonic scale containing pitches C, D, E, G, and A, modulating a fifth higher gives the collection of pitches G, A, B, D, and E, having four of five tones in common. However, modulating up a tritone would produce F♯, G♯, A♯, C♯, D♯, which shares no common tones with the original scale. Thus the scale a fifth higher is very closely related, while the scale a tritone higher is not. Other modulations may be placed in order from closest to most distant depending upon the number of common tones. * Another view in modern music, notably in Bartók, a common ...

Distantly might refer to

In music, a Closely related key is one sharing many common tones with an original key, as opposed to a distantly related key (or "close key" and "distant key"). In music harmony, such a key shares all, or all except one, pitches with a key with which it is being compared, and is adjacent to it on the circle of fifths and its relative major or minor.
* Such keys are the most commonly used destinations or transpositions in a modulation, because of their strong structural links with the home key. Distant keys may be reached sequentially through closely related keys by chain modulation, for example C to G to D or C to C minor to E♭ major. For example, "One principle that every composer of Haydn's day [Classical music era] kept in mind was over-all unity of tonality. No piece dared wander too far from its tonic key, and no piece in a four-movement form dared to present a tonality not closely related to the key of the whole series." For example, the first movement of Mozart's Piano Sonata No. 7 (Mozart), K. 309, modulates only to closely related keys (the dominant, supertonic, and submediant).Given a major key tonic (I), the related keys are: * vi (submediant or relative minor): same key signature
* IV (subdominant): one less sharp (or one more flat) around circle of fifths
* V (dominant): one more sharp (or one fewer flat) around circle of fifths
* i (parallel minor): same tonic, different key signature
* ii (supertonic, the relative minor of the subdominant)
* iii (mediant, the relative minor of the dominant)
* Specifically:
*
* Starting from a minor key (i), the closely related keys are the subdominant minor (iv), the dominant minor (v), the relative major (♭III), and the relative majors of the subdominant and dominant (♭VI and ♭VII).
*
* Another view of closely related is that there are six closely related keys, based on the tonic and the remaining triads of the diatonic scale, excluding the dissonant leading-tone diminished triad. Four of which differ by one accidental, one with the same key signature, and the parallel modal form. In the key of C major these would be: D minor, E minor, F major, G major, A minor, and C minor.
* In modern music, the closeness of a relation between any two keys or sets of pitches may be determined by the number of tones they share in common, which allows one to consider modulations not occurring in standard major-minor tonality. For example, in music based on the pentatonic scale containing pitches C, D, E, G, and A, modulating a fifth higher gives the collection of pitches G, A, B, D, and E, having four of five tones in common. However, modulating up a tritone would produce F♯, G♯, A♯, C♯, D♯, which shares no common tones with the original scale. Thus the scale a fifth higher is very closely related, while the scale a tritone higher is not. Other modulations may be placed in order from closest to most distant depending upon the number of common tones.
* Another view in modern music, notably in Bartók, a common ...

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