Perspectives on Music during the Counter-Reformation
... imperfect consonances in practice by the Catholic Church, since there is not actually mention of whether seconds and thirds were consonant or dissonant. However, in the description of the interval of the fourth, it is described as the “First Consonance,” suggesting that all seconds and thirds were c ...
... imperfect consonances in practice by the Catholic Church, since there is not actually mention of whether seconds and thirds were consonant or dissonant. However, in the description of the interval of the fourth, it is described as the “First Consonance,” suggesting that all seconds and thirds were c ...
Octaves and the Major-Minor Tonal System
... 3 Dividing the Octave into Scales The word "octave" comes from a Latin root meaning "eight". It seems an odd name for a frequency that is two times, not eight times, higher. The octave was named by musicians who were more interested in how octaves are divided into scales, than in how their frequenci ...
... 3 Dividing the Octave into Scales The word "octave" comes from a Latin root meaning "eight". It seems an odd name for a frequency that is two times, not eight times, higher. The octave was named by musicians who were more interested in how octaves are divided into scales, than in how their frequenci ...
The demise of number ratios in music theory
... resultant intonation is closer to 19ET or 12ET. Given that the average size of an interval depends on both acoustics (nature) and culture (nurture), it may be possible to establish a sustainable 19ET performance community. ...
... resultant intonation is closer to 19ET or 12ET. Given that the average size of an interval depends on both acoustics (nature) and culture (nurture), it may be possible to establish a sustainable 19ET performance community. ...
A propos du « mouvement musical » chez Debussy :
... harmonic spectrum (corrected by the exigencies of equal temperament) can frequently be heard, especially in Debussy, as an altered Mixolydian mode (the fourth degree raised a half-step). Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian m ...
... harmonic spectrum (corrected by the exigencies of equal temperament) can frequently be heard, especially in Debussy, as an altered Mixolydian mode (the fourth degree raised a half-step). Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian m ...
Book 3 - Advanced
... The two tetrachords are separated by either a tone or a semitone. This is referred to as the ‘Interval of Disjunction’. First, or ...
... The two tetrachords are separated by either a tone or a semitone. This is referred to as the ‘Interval of Disjunction’. First, or ...
AP Music Theory Syllabus
... 5. Name and recognize scale degree terms, e.g., tonic, supertonic, etc. 6. Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only). 7. Notate, hear, and identify whole tone and pentatonic scales. 8. Notate, hear, and identify all perfect, majo ...
... 5. Name and recognize scale degree terms, e.g., tonic, supertonic, etc. 6. Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only). 7. Notate, hear, and identify whole tone and pentatonic scales. 8. Notate, hear, and identify all perfect, majo ...
Level 4 Workbook
... Scales and Primary Triads 1. In a major scale, half steps are found between scale degrees (fill in the blanks) and ____ - ____ 2. Add accidentals to complete the Eb major scale. 3. Write primary triads above the appropriate notes. 4. Add Roman numerals below the primary triads. ...
... Scales and Primary Triads 1. In a major scale, half steps are found between scale degrees (fill in the blanks) and ____ - ____ 2. Add accidentals to complete the Eb major scale. 3. Write primary triads above the appropriate notes. 4. Add Roman numerals below the primary triads. ...
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 ...
isomorphic tessellations for musical keyboards
... of harmonies that can be achieved through any number of discrete tones. In music theory, there are several harmonic combinations that are found in the music of all ages. These are the octave, the dominant triad, and the dominant seventh. The octave is an interval between two musical notes where one ...
... of harmonies that can be achieved through any number of discrete tones. In music theory, there are several harmonic combinations that are found in the music of all ages. These are the octave, the dominant triad, and the dominant seventh. The octave is an interval between two musical notes where one ...
Pythagorean whole tone - Jacobs University Mathematics
... The mel scale is not an appropriate musical scale. Experiments are usually done with pure sine tones and other sounds that had no standard musical interval relationships. With musical material the psychological scale resulted in a log frequency scale within the common musical frequency range. ...
... The mel scale is not an appropriate musical scale. Experiments are usually done with pure sine tones and other sounds that had no standard musical interval relationships. With musical material the psychological scale resulted in a log frequency scale within the common musical frequency range. ...
Lesson UUU: The Major Scale Introduction: The
... Labeling with scale-degree numbers is the most straightforward systems: each scale degree is given a number 1 through 8. Scale degree numbers are distinguished from other types of numbers by the caret (ˆ) that appears above each digit: 1, 2, 3, 4, 5, 6, 7, and 8. The following example demonstrates: ...
... Labeling with scale-degree numbers is the most straightforward systems: each scale degree is given a number 1 through 8. Scale degree numbers are distinguished from other types of numbers by the caret (ˆ) that appears above each digit: 1, 2, 3, 4, 5, 6, 7, and 8. The following example demonstrates: ...
Lesson_UUU_-_The_Maj..
... Labeling with scale-degree numbers is the most straightforward systems: each scale degree is given a number 1 through 8. Scale degree numbers are distinguished from other types of numbers by the caret (ˆ) that appears above each digit: 1, 2, 3, 4, 5, 6, 7, and 8. The following example demonstrates: ...
... Labeling with scale-degree numbers is the most straightforward systems: each scale degree is given a number 1 through 8. Scale degree numbers are distinguished from other types of numbers by the caret (ˆ) that appears above each digit: 1, 2, 3, 4, 5, 6, 7, and 8. The following example demonstrates: ...
File - Bill Troxler
... A Cadd9 chord or C+9 is spelled: C E G D A Cadd11 chord or C+11 is spelled: C E G F ANY of the twelve tones of the chromatic scale may be added to a basic triad The G7+b5 chord is spelled: G B Db F(natural) ...
... A Cadd9 chord or C+9 is spelled: C E G D A Cadd11 chord or C+11 is spelled: C E G F ANY of the twelve tones of the chromatic scale may be added to a basic triad The G7+b5 chord is spelled: G B Db F(natural) ...
Lesson_LLL_-_Mixture..
... Introduction: In Lessons 8 and 10, we discussed various sorts of chromatic pitches. As we saw, non-diatonic tones may arise as a result of melodic or harmonic embellishment, or as part of an applied chord. This is not the case, however, in the following example: Example LLL.01 (F. Schubert, Die Schö ...
... Introduction: In Lessons 8 and 10, we discussed various sorts of chromatic pitches. As we saw, non-diatonic tones may arise as a result of melodic or harmonic embellishment, or as part of an applied chord. This is not the case, however, in the following example: Example LLL.01 (F. Schubert, Die Schö ...
Pitch
... • Whistled speech, e.g. Mexican tone language Chinantec. Uses a combina4on of tone and stress dis4nc4ons to communicate messages with minimum ambiguity. Probably doesn’t use a fixed tuning scheme. • Krar ...
... • Whistled speech, e.g. Mexican tone language Chinantec. Uses a combina4on of tone and stress dis4nc4ons to communicate messages with minimum ambiguity. Probably doesn’t use a fixed tuning scheme. • Krar ...
Introduction to the CAGED System,Part One
... can make poor decisions. I recently heard a tune by Jack Johnson that contains a seventh chord, which I felt was inappropriate in its context. On the other hand, I always felt that the G, C, and D triads in Tracy Chapman’s “Gimme One Reason” should have all been seventh chords instead. These are mat ...
... can make poor decisions. I recently heard a tune by Jack Johnson that contains a seventh chord, which I felt was inappropriate in its context. On the other hand, I always felt that the G, C, and D triads in Tracy Chapman’s “Gimme One Reason” should have all been seventh chords instead. These are mat ...
full PDF text of Leach 2006
... only the singer (who would depart from the regular theoretically sanctioned steps within the octave) but also the listener (whose moral fiber would be mollified by such unethical semitones). The “leading note” also became associated with another aspect that dominates the orientalist music of later c ...
... only the singer (who would depart from the regular theoretically sanctioned steps within the octave) but also the listener (whose moral fiber would be mollified by such unethical semitones). The “leading note” also became associated with another aspect that dominates the orientalist music of later c ...
12 Music Hacks
... tense up – often with the addition of lip curling that even the most potent salt and vinegar chips can’t induce. Then there are the sighers, who would make great trumpet players with their huge cheeks and lungs, often including eye-rolling for extra emphasis. Then there are the pee-ers, who suddenly ...
... tense up – often with the addition of lip curling that even the most potent salt and vinegar chips can’t induce. Then there are the sighers, who would make great trumpet players with their huge cheeks and lungs, often including eye-rolling for extra emphasis. Then there are the pee-ers, who suddenly ...
Modes and Ragas: More Than just a Scale
... We don't have any recordings of ancient music, so we do not know exactly what it sounded like. But we can make some educated guesses as to what music from ancient Greek and Roman times really sounded like, based on their writings. We know, for example, that they used modes based on tetrachords, mini ...
... We don't have any recordings of ancient music, so we do not know exactly what it sounded like. But we can make some educated guesses as to what music from ancient Greek and Roman times really sounded like, based on their writings. We know, for example, that they used modes based on tetrachords, mini ...
The Rise of 6 in the Nineteenth Century
... hump between 6̂ and 7̂, as in Example 8. This example takes account of 7̂’s attraction toward 8̂ as well as 6̂’s attraction toward 5̂ while accounting also for motion between 6̂ and 7̂. Motion from 5̂ to 8̂, then, requires a certain investment of energy in overcoming 6̂’s downward pull, but this inv ...
... hump between 6̂ and 7̂, as in Example 8. This example takes account of 7̂’s attraction toward 8̂ as well as 6̂’s attraction toward 5̂ while accounting also for motion between 6̂ and 7̂. Motion from 5̂ to 8̂, then, requires a certain investment of energy in overcoming 6̂’s downward pull, but this inv ...
Music Theory & Ear Training for Busy Adults
... E.g., The C major scale and the A natural minor scale are relative major and minor, respectively. (By the way, the C major and A natural minor scales are special cases in that they use only white keys.) 7. Modes are scales which use the same menu of notes as major and minor scales, but have other ro ...
... E.g., The C major scale and the A natural minor scale are relative major and minor, respectively. (By the way, the C major and A natural minor scales are special cases in that they use only white keys.) 7. Modes are scales which use the same menu of notes as major and minor scales, but have other ro ...
Pitch vs Frequency There is a relationship between pitch and
... how close together they are, there is always some other frequency. However, for the purpose of music, this infinitude of possibilities it too great. Over the centuries, the set of all possible frequencies has been categorized into a finite set of frequencies which are used in the playing of music. T ...
... how close together they are, there is always some other frequency. However, for the purpose of music, this infinitude of possibilities it too great. Over the centuries, the set of all possible frequencies has been categorized into a finite set of frequencies which are used in the playing of music. T ...
Mode (music)
In the theory of Western music, mode (from Latin modus, ""measure, standard, manner, way, size, limit of quantity, method"") (Powers 2001, Introduction; OED) generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, itself inspired by the theory of ancient Greek music.