definitions - St. Joseph`s High School Crossmaglen
... Atonal- the use of only full tones (eg. C, D, E, F#, G#, A#, C) Serial- 20th century music that uses a definite order of semitones. Arpeggio Bass- an arpeggio accompaniment eg. C, E, G, C, E, G, C, E, G, C, E, G, etc. Ground Bass- A musical line in the bass that is continually repeated throughout Pe ...
... Atonal- the use of only full tones (eg. C, D, E, F#, G#, A#, C) Serial- 20th century music that uses a definite order of semitones. Arpeggio Bass- an arpeggio accompaniment eg. C, E, G, C, E, G, C, E, G, C, E, G, etc. Ground Bass- A musical line in the bass that is continually repeated throughout Pe ...
Document
... Melodic leaps of an A2 or A4 should be avoided Consecutive P1, P4,P5, or P8 are forbidden 3. Write the alto and tenor for the second chord in each case without change in structure. ...
... Melodic leaps of an A2 or A4 should be avoided Consecutive P1, P4,P5, or P8 are forbidden 3. Write the alto and tenor for the second chord in each case without change in structure. ...
Tonal Harmony Chapter 3 Introduction to Triads and Seventh
... Analyzing music using numbers derived from the Baroque (1600-1750) system called figured bass or thoroughbass Keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played above each bass note The symbols consisted basically o ...
... Analyzing music using numbers derived from the Baroque (1600-1750) system called figured bass or thoroughbass Keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played above each bass note The symbols consisted basically o ...
AUGMENTED SIXTH CHORDS Definition
... A6 chords are most often built on the note a half step above the dominant (b6) of the scale in both major and minor keys (as the above examples in the key of C). A6 chords may also be built on the note a half step above the tonic (b2) or the fourth scale degree (see below for examples). Sound: It6 s ...
... A6 chords are most often built on the note a half step above the dominant (b6) of the scale in both major and minor keys (as the above examples in the key of C). A6 chords may also be built on the note a half step above the tonic (b2) or the fourth scale degree (see below for examples). Sound: It6 s ...
Augmented Sixth Chords
... they are usually used to approach dominant triads, not dominant sevenths, because of the doubled roots present in dominant triads. however, they also often approach tonic chords in second inversion, which also contain a doubled fifth scale degree. ...
... they are usually used to approach dominant triads, not dominant sevenths, because of the doubled roots present in dominant triads. however, they also often approach tonic chords in second inversion, which also contain a doubled fifth scale degree. ...
Music Fundamentals Primer Lesson 4
... A triad is a group of three notes that sound at the same time. In much tonal music, chords are built by stacking thirds on top of each other, creating what is known as tertian harmony. A tertian triad is a chord with three notes that is built with thirds. Even when a chord is spread out over several ...
... A triad is a group of three notes that sound at the same time. In much tonal music, chords are built by stacking thirds on top of each other, creating what is known as tertian harmony. A tertian triad is a chord with three notes that is built with thirds. Even when a chord is spread out over several ...
View printable PDF of 6.7 Contemporary Chords and Harmonic
... Tone cluster with 2 notes raised an octave ...
... Tone cluster with 2 notes raised an octave ...
The 7-4-2 chord in early Italian recitative
... The second form is confusing because it normally refers to a bass suspension, in which the upper voices remain stationary while the bass descends a step. The third form is the most confusing because it suggests the very common 7 th used in a 7-6 progression or the cadential “dominant” seventh used i ...
... The second form is confusing because it normally refers to a bass suspension, in which the upper voices remain stationary while the bass descends a step. The third form is the most confusing because it suggests the very common 7 th used in a 7-6 progression or the cadential “dominant” seventh used i ...
Chapter 3
... Chromatic sounds a little wilder, because it often departs from the key of the piece and uses tones that are not considered part of the scale. ...
... Chromatic sounds a little wilder, because it often departs from the key of the piece and uses tones that are not considered part of the scale. ...
Baroque-Era Algorithmic Composition Kevin Deisz 1st Step – Keys
... Cmaj dominant chord is Gmaj, Gmaj dominant chord is Dmaj (with an F#) ...
... Cmaj dominant chord is Gmaj, Gmaj dominant chord is Dmaj (with an F#) ...
Voice leading from IV-V
... The bass-tenor interval in the IV chord is a fifth, and the bass-alto interval is an octave. This pattern is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice l ...
... The bass-tenor interval in the IV chord is a fifth, and the bass-alto interval is an octave. This pattern is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice l ...
Harmony from the Inside
... Two types of triad: major & minor. Both have 3-note structure, but they have different expressive characters: major is brighter, minor more melancholy. (Note that these associations only work for western classical and popular traditions – other world and folk musics sometimes have different ‘meaning ...
... Two types of triad: major & minor. Both have 3-note structure, but they have different expressive characters: major is brighter, minor more melancholy. (Note that these associations only work for western classical and popular traditions – other world and folk musics sometimes have different ‘meaning ...
Four-Part Harmony
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
Inversions
... useful rule applying to all intervals (that is those of one octave or less). The number of any interval and the number of its inversion always add up to nine. Thus a fifth (number 5) and its inverse or complement, a fourth (number is 4) add up to 9. Do not forget that chord quality is still a factor ...
... useful rule applying to all intervals (that is those of one octave or less). The number of any interval and the number of its inversion always add up to nine. Thus a fifth (number 5) and its inverse or complement, a fourth (number is 4) add up to 9. Do not forget that chord quality is still a factor ...
Chord names and symbols (popular music)
Various kinds of chord names and symbols are used in different contexts, to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and the corresponding symbol are typically composed of one or more of the following parts: The root note (e.g. C). The chord quality (e.g. major, maj, or M). The number of an interval (e.g. seventh, or 7), or less often its full name or symbol (e.g. major seventh, maj7, or M7). The altered fifth (e.g. sharp five, or ♯5). An additional interval number (e.g. add 13 or add13), in added tone chords.For instance, the name C augmented seventh, and the corresponding symbol Caug7, or C+7, are both composed of parts 1, 2, and 3.Except for the root, these parts do not refer to the notes which form the chord, but to the intervals they form with respect to the root. For instance, Caug7 indicates a chord formed by the notes C-E-G♯-B♭. The three parts of the symbol (C, aug, and 7) refer to the root C, the augmented (fifth) interval from C to G♯, and the (minor) seventh interval from C to B♭. A set of decoding rules is applied to deduce the missing information.Although they are used occasionally in classical music, these names and symbols are ""universally used in jazz and popular music"",usually inside lead sheets, fake books, and chord charts, to specify the harmony of compositions.Other notation systems for chords include:plain staff notation, used in classical music, Roman numerals, commonly used in harmonic analysis,figured bass, much used in the Baroque era, and macro symbols, sometimes used in modern musicology.