Musical Scales and Tuning
... You will note that the most "pleasing" musical intervals above are those which have a frequency ratio of relatively small integers. Some authors have slightly different ratios for some of these intervals, and the Just scale actually defines more notes than we usually use. For example, the "augmented ...
... You will note that the most "pleasing" musical intervals above are those which have a frequency ratio of relatively small integers. Some authors have slightly different ratios for some of these intervals, and the Just scale actually defines more notes than we usually use. For example, the "augmented ...
12_6_Deeper_Reading_Scales_and_Tuning
... You will note that the most "pleasing" musical intervals above are those which have a frequency ratio of relatively small integers. Some authors have slightly different ratios for some of these intervals, and the Just scale actually defines more notes than we usually use. For example, the "augmented ...
... You will note that the most "pleasing" musical intervals above are those which have a frequency ratio of relatively small integers. Some authors have slightly different ratios for some of these intervals, and the Just scale actually defines more notes than we usually use. For example, the "augmented ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
Page 1 of 8 NAHOO || Maths || The Relationship between
... highly influential Greek astronomer and geographer born around 85 AD in Egypt was less well known for his work on extending the early musical scale. He investigated the exact series of 2/1, 3/2, 4/3, … and then compounded these to give ratios such as 5/3 found from 4/3 and 5/4[1]. Further analysis o ...
... highly influential Greek astronomer and geographer born around 85 AD in Egypt was less well known for his work on extending the early musical scale. He investigated the exact series of 2/1, 3/2, 4/3, … and then compounded these to give ratios such as 5/3 found from 4/3 and 5/4[1]. Further analysis o ...
MTO 15.3: Johnson, Notational Systems and
... hand for a keyboardist makes sense of the Braille chorale in a way that is similar to a guitarist playing from tab or frames. In some ways it also resembles figured bass, which reflects keyboard style hand placement with one bass note played in the left hand and three others notes played in the righ ...
... hand for a keyboardist makes sense of the Braille chorale in a way that is similar to a guitarist playing from tab or frames. In some ways it also resembles figured bass, which reflects keyboard style hand placement with one bass note played in the left hand and three others notes played in the righ ...
Origins of BHANGRA! =dhol =ektara Bhangra originates from the
... Remixes- tracks with lots of different layers mixed together in new ways. A remix normally sounds very different from a live performance because so much has been changed in the studio Samples- from other music, e.g. bass line, drum parts, lyrics Drum machines- instead of the dhol DJ techniques like ...
... Remixes- tracks with lots of different layers mixed together in new ways. A remix normally sounds very different from a live performance because so much has been changed in the studio Samples- from other music, e.g. bass line, drum parts, lyrics Drum machines- instead of the dhol DJ techniques like ...
Ars Polemica: Monteverdi`s Orfeo as artistic creed
... was intended to provide a theoretical framework to justify them. The musicologist Claude Palisca claimed that this treatise can be viewed as a substitute to the one Monteverdi promised to write on the treatment of dissonances; on this particular issue, the two musicians held similar views. In other ...
... was intended to provide a theoretical framework to justify them. The musicologist Claude Palisca claimed that this treatise can be viewed as a substitute to the one Monteverdi promised to write on the treatment of dissonances; on this particular issue, the two musicians held similar views. In other ...
A permutational triadic approach to jazz harmony and the chord
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
0 - Squarespace
... Sometimes music gradually changes from soft co loud, or from loud to soft. The most common dynamic symbols to show a change in volume look like chis: A crescendo (creh-SHEN-doh) sign means to gradually gee louder. ...
... Sometimes music gradually changes from soft co loud, or from loud to soft. The most common dynamic symbols to show a change in volume look like chis: A crescendo (creh-SHEN-doh) sign means to gradually gee louder. ...
Franz Liszt`s Battle Against Tonality In The Solo Piano Piece Unstern
... As Liszt applies these harmonies, augmented and diminished chords become similar in that they consist of equidistant intervals and do not have unique harmonic root notes as Liszt applied them. When several of either of these chords sounds one after the other, without resolving to a consonant chord, ...
... As Liszt applies these harmonies, augmented and diminished chords become similar in that they consist of equidistant intervals and do not have unique harmonic root notes as Liszt applied them. When several of either of these chords sounds one after the other, without resolving to a consonant chord, ...
Télécharger le pdf
... few ornamental pitches: for example, the B in voice 1 and the D in voice 3, both on page 2, first and second measures, are ornamental pitches outside the mode, decorating the sustained chords. While most of the chords heard in choir 2 in the first part of section I are derived from melody 1, the sec ...
... few ornamental pitches: for example, the B in voice 1 and the D in voice 3, both on page 2, first and second measures, are ornamental pitches outside the mode, decorating the sustained chords. While most of the chords heard in choir 2 in the first part of section I are derived from melody 1, the sec ...
View - NCUR Proceedings
... As Liszt applies these harmonies, augmented and diminished chords become similar in that they consist of equidistant intervals and do not have unique harmonic root notes as Liszt applied them. When several of either of these chords sounds one after the other, without resolving to a consonant chord, ...
... As Liszt applies these harmonies, augmented and diminished chords become similar in that they consist of equidistant intervals and do not have unique harmonic root notes as Liszt applied them. When several of either of these chords sounds one after the other, without resolving to a consonant chord, ...
A Visual Musician: Musical Elements Within the Paintings of Vassily
... Wagner and other composers were also careful about the amount of dissonance they used. When they surrounded strong dissonance with consonance the dissonance seems fitting and complementary. In the same way that Wagner tried to not use so much chromaticism as to make operas and compositions unstable, ...
... Wagner and other composers were also careful about the amount of dissonance they used. When they surrounded strong dissonance with consonance the dissonance seems fitting and complementary. In the same way that Wagner tried to not use so much chromaticism as to make operas and compositions unstable, ...
Advanced Rhythm Reading Packet
... Our study of rhythm will be aided through the use of a rhythmic syllable system called “Takadimi,” developed by Richard Hoffman, William Pelto, and John White.1 It is recommended that you practice with a metronome to help you maintain a steady beat. Simple meter: meters in which the beat subdivides ...
... Our study of rhythm will be aided through the use of a rhythmic syllable system called “Takadimi,” developed by Richard Hoffman, William Pelto, and John White.1 It is recommended that you practice with a metronome to help you maintain a steady beat. Simple meter: meters in which the beat subdivides ...
Dynamics and expressive techniques
... s The Baroque period (about 1600 to 1750) saw the beginning of the use of dynamics in music, but only in terms of loud and soft. This is sometimes called terraced dynamics, meaning there are no gradations between the two volume levels we hear, loud and soft. Terraced dynamics are a distinct feature ...
... s The Baroque period (about 1600 to 1750) saw the beginning of the use of dynamics in music, but only in terms of loud and soft. This is sometimes called terraced dynamics, meaning there are no gradations between the two volume levels we hear, loud and soft. Terraced dynamics are a distinct feature ...
file here.
... (3:2)4 give us the next ascending perfect fifth (in our example, from “A” up to “E”), which works out to 81:16. But to find this pitch within our original “C” to “C” octave we must reduce it. When we reduced (3:2)2 to find our major second we reduced it by one octave, or 2:1. But here we must bring ...
... (3:2)4 give us the next ascending perfect fifth (in our example, from “A” up to “E”), which works out to 81:16. But to find this pitch within our original “C” to “C” octave we must reduce it. When we reduced (3:2)2 to find our major second we reduced it by one octave, or 2:1. But here we must bring ...
Using Whole Tone Scales in Improvisation
... stretching consists of altering diatonic scale tones to fit the phrase. This adds considerable color, and lends a distinct horizontal character to the passage. Of course, the benefit of going through the stretching process is that ...
... stretching consists of altering diatonic scale tones to fit the phrase. This adds considerable color, and lends a distinct horizontal character to the passage. Of course, the benefit of going through the stretching process is that ...
FREE Sample Here - We can offer most test bank and
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
FREE Sample Here
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
The Twelve-Tone Method of Musical Construction
... Avoid using too many melodic intervals of the same or similar size because these may lead to melodic monotony. You may wish to avoid pairs of notes a semitone apart if you feel that they will sound like moving from the leading note to the tonic in a major or minor scale. Unless you actually want you ...
... Avoid using too many melodic intervals of the same or similar size because these may lead to melodic monotony. You may wish to avoid pairs of notes a semitone apart if you feel that they will sound like moving from the leading note to the tonic in a major or minor scale. Unless you actually want you ...
Program Notes - University of Chicago Presents
... the first truly "equal” lute duets, had inspired progeny! If Johnson was responsible for the leveches, then he could have also been responsible for the arrangement of the Flatt Pavan and Galliard. One way or another, the music is definitely John Johnson’s, as the arranger simply divided the music fo ...
... the first truly "equal” lute duets, had inspired progeny! If Johnson was responsible for the leveches, then he could have also been responsible for the arrangement of the Flatt Pavan and Galliard. One way or another, the music is definitely John Johnson’s, as the arranger simply divided the music fo ...
RATIOS AND MUSICAL INTERVALS We like to think of an interval
... solve for x in the equation r = 2x/1200 . This requires taking a logarithm, a topic which will be reviewed and developed in the next section. The following observation provides additional motivation for evoking logarithms. If we plot pitches on an axis according to their frequency, we see that music ...
... solve for x in the equation r = 2x/1200 . This requires taking a logarithm, a topic which will be reviewed and developed in the next section. The following observation provides additional motivation for evoking logarithms. If we plot pitches on an axis according to their frequency, we see that music ...
Scales - SmartSite
... A useful tool in understanding the major-minor tonal system is a diagram known as the circle of fifths (next screen). Each segment of the circle is a 5th higher than the pitch to its immediate left: you start at the top with no sharps or flats and proceed clockwise by adding sharps and counterclockw ...
... A useful tool in understanding the major-minor tonal system is a diagram known as the circle of fifths (next screen). Each segment of the circle is a 5th higher than the pitch to its immediate left: you start at the top with no sharps or flats and proceed clockwise by adding sharps and counterclockw ...
melody - Test Bank 1
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
Figured bass
Figured bass, or thoroughbass, is a kind of musical notation in which numerals and symbols indicate intervals, chords, and non-chord tones, in relation to the bass note they are placed above or below. Figured bass is closely associated with basso continuo, a historically improvised accompaniment used in almost all genres of music in the Baroque period, though rarely in modern music.Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis;macro symbols, sometimes used in modern musicology; the Nashville number system; and various names and symbols used in jazz and popular music.