Alois Hába`s Suite für vier Posaunen
... shows the first four measures, reduced to a single bass staff. Example 3.11b shows how the Au–major triad is prolonged by non-chord tones, although their enharmonic spellings do not always reflect their functions. The nonchord tones By and Dy are easily interpreted as passing-tones, but the uppernei ...
... shows the first four measures, reduced to a single bass staff. Example 3.11b shows how the Au–major triad is prolonged by non-chord tones, although their enharmonic spellings do not always reflect their functions. The nonchord tones By and Dy are easily interpreted as passing-tones, but the uppernei ...
Expanded Tonality in Quartal Space: Back to Debussy`s
... flattened pitches (see for instance, the melody at measures 25-28, the six flat key signature section at measures 29-42, and the final section at measure 59 onwards). In such a context, the rare sharp notes, as well as the natural notes not included in the tonic field, will be analyzed as not-harmon ...
... flattened pitches (see for instance, the melody at measures 25-28, the six flat key signature section at measures 29-42, and the final section at measure 59 onwards). In such a context, the rare sharp notes, as well as the natural notes not included in the tonic field, will be analyzed as not-harmon ...
... You may have noticed that Examples 8.2 and 8.5 do not exhaust all the possible combinations of triads and sevenths. For example, you could write an augmented triad with a major or minor seventh, or a minor triad with a major seventh. Although these seventh chords are not found in common-practice ton ...
Non-Chord Tones
... Suspension cont. Three Parts of the Suspension • Preparation- the tone preceding the suspension will be the same pitch as the suspension. • Suspension- May or may not be tied to the preparation. This is the actual NCT. • Resolution- The tone following the suspension and lying a 2nd below the suspen ...
... Suspension cont. Three Parts of the Suspension • Preparation- the tone preceding the suspension will be the same pitch as the suspension. • Suspension- May or may not be tied to the preparation. This is the actual NCT. • Resolution- The tone following the suspension and lying a 2nd below the suspen ...
A - The sixth note of the diatonic major scale of C
... Meter - The structure of notes in a regular pattern of accented and unaccented beats within a measure, indicated at the beginning of a composition by a meter signature. Meter signature - The numbers placed at the beginning of a composition to indicate the meter of the music, e.g. . The upper number ...
... Meter - The structure of notes in a regular pattern of accented and unaccented beats within a measure, indicated at the beginning of a composition by a meter signature. Meter signature - The numbers placed at the beginning of a composition to indicate the meter of the music, e.g. . The upper number ...
ANP_Paper3_MathofMusic
... temperament, a system that divides each octave into twelve notes, labeled in order of increasing frequency A, A# (Bb), B, C, C# (Db), D, D# (Eb), E, F, F# (Gb), G, G# (Ab). Notes with the symbol “#” are called “sharp” while notes with the symbol “b” are called “flat”. A# and Bb have the same frequen ...
... temperament, a system that divides each octave into twelve notes, labeled in order of increasing frequency A, A# (Bb), B, C, C# (Db), D, D# (Eb), E, F, F# (Gb), G, G# (Ab). Notes with the symbol “#” are called “sharp” while notes with the symbol “b” are called “flat”. A# and Bb have the same frequen ...
How Music Works
... aspects of musical structure and instrumentation. Every pitch sounded on a vibrating or resonating body consists of a combination of various frequencies. The lowest of these pitches is called the fundamental. The pitches above it are called overtones. The distinctive character of different musical i ...
... aspects of musical structure and instrumentation. Every pitch sounded on a vibrating or resonating body consists of a combination of various frequencies. The lowest of these pitches is called the fundamental. The pitches above it are called overtones. The distinctive character of different musical i ...
On Tonal Dynamics and Musical Meaning - Signata
... So far, we have only tried to uncontroversially (re)organize some trivial but important aspects of tonal architecture and modulation. his body of Pythagorean tonal doxa, however, leaves out some elementary and semiotically interesting questions. First of all, what are the grounds for the anchoring o ...
... So far, we have only tried to uncontroversially (re)organize some trivial but important aspects of tonal architecture and modulation. his body of Pythagorean tonal doxa, however, leaves out some elementary and semiotically interesting questions. First of all, what are the grounds for the anchoring o ...
Harmonic Language in The Legend of Zelda: Ocarina of Time
... prolongation. In contrast to the large octave leaps of the first half, the second half is much more compact, using only neighbour and stepwise motion until the rising arpeggiated cadence. The second half is also harmonically contrasting, using modal mixture in mm. 5 and 6 by lowering all C’s and G’s ...
... prolongation. In contrast to the large octave leaps of the first half, the second half is much more compact, using only neighbour and stepwise motion until the rising arpeggiated cadence. The second half is also harmonically contrasting, using modal mixture in mm. 5 and 6 by lowering all C’s and G’s ...
1 Consonance and Dissonance in Theory, Practice and Science
... explain central aspects of musical structure. Why, for example, are major and minor triads so important in common-practice tonality? Of all sets of three pitch classes, major and minor triads are the only ones to combine low roughness with high fusion. It’s as simple as that. If this explanation is ...
... explain central aspects of musical structure. Why, for example, are major and minor triads so important in common-practice tonality? Of all sets of three pitch classes, major and minor triads are the only ones to combine low roughness with high fusion. It’s as simple as that. If this explanation is ...
Serialism in the Works of Charles Ives
... pedal point C-sharp, the roots of the triads descend through the degrees of a whole-tone scale, and then ascend in reverse order: C$-B-A-G-F-E~-C#-ED-FG-A-B-CS. As each triad changes from major to minor, an inner voice is always moving through a descending chromatic scale. The piano part of the song ...
... pedal point C-sharp, the roots of the triads descend through the degrees of a whole-tone scale, and then ascend in reverse order: C$-B-A-G-F-E~-C#-ED-FG-A-B-CS. As each triad changes from major to minor, an inner voice is always moving through a descending chromatic scale. The piano part of the song ...
Cadences - AState.edu
... A cadence is a musical punctuation that signals the end of a section of music. Cadences mark formal seams and confirm the tonality. At a cadence there may be a break in the rhythmic flow as well as the reaching of a harmonic goal. A cadence usually consists of 2 chords. Cadences differ considerably ...
... A cadence is a musical punctuation that signals the end of a section of music. Cadences mark formal seams and confirm the tonality. At a cadence there may be a break in the rhythmic flow as well as the reaching of a harmonic goal. A cadence usually consists of 2 chords. Cadences differ considerably ...
Blues and Other Popular Styles
... of an E b major triad, plus a major sixth (C) above the root. Pitches added to triads or seventh chords are sometimes called chord extensions. This particular sonority is an added-sixth chord. There are other added-sixth chords in measures 33 and 35–36. The added sixth is generally a major sixth, wh ...
... of an E b major triad, plus a major sixth (C) above the root. Pitches added to triads or seventh chords are sometimes called chord extensions. This particular sonority is an added-sixth chord. There are other added-sixth chords in measures 33 and 35–36. The added sixth is generally a major sixth, wh ...
PDF text - Music Theory Online
... [2.3] Whereas none of the transformation types represented in Tables 1 and 2 connects seventh chords that are diatonically related, some do correspond with familiar chromatic harmonic relationships, such as the common-tone diminished seventh that embellishes a dominant seventh harmony (e.g., C°7–C7 ...
... [2.3] Whereas none of the transformation types represented in Tables 1 and 2 connects seventh chords that are diatonically related, some do correspond with familiar chromatic harmonic relationships, such as the common-tone diminished seventh that embellishes a dominant seventh harmony (e.g., C°7–C7 ...
to read it in Microsoft Word
... C harmonic major scale consists of C, D, E, F, G, Ab, B. When played over the E7 chord in the key of C major, these notes comprise the b13th, b7th, root, b9, #9, 3rd, and 5th, respectively. There are no avoid notes. ...
... C harmonic major scale consists of C, D, E, F, G, Ab, B. When played over the E7 chord in the key of C major, these notes comprise the b13th, b7th, root, b9, #9, 3rd, and 5th, respectively. There are no avoid notes. ...
class9#
... Consider the behavior of G# and Ab (same music-level pitch in C major. G# will be usually part of a transposition to A major (A) or A minor (Am), so it will function as a leading tone to A. Ab will probably be part of a modulation to Fm or Eb. it will go down to G. Ab and G# are not part of C, so th ...
... Consider the behavior of G# and Ab (same music-level pitch in C major. G# will be usually part of a transposition to A major (A) or A minor (Am), so it will function as a leading tone to A. Ab will probably be part of a modulation to Fm or Eb. it will go down to G. Ab and G# are not part of C, so th ...
Whole tone scale
... The whole tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasized by the fact that triads built on such scale tones are augmented. Indeed, one can play al ...
... The whole tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasized by the fact that triads built on such scale tones are augmented. Indeed, one can play al ...
A Mathematical and Musical Analogy in Microtonal Systems
... {C, C ] /D[ , D, D] /E [ , E, F , F ] /G[ , G, G] /A[ , A, A] /B [ , B}. We number these pitches as 0, 1, 2, 3, ..., 11 in order to model the 12-tone system and as a means of organizing pitch relationships. “The basic principle of the keyboard is that any key that is twelve half steps [the interval ...
... {C, C ] /D[ , D, D] /E [ , E, F , F ] /G[ , G, G] /A[ , A, A] /B [ , B}. We number these pitches as 0, 1, 2, 3, ..., 11 in order to model the 12-tone system and as a means of organizing pitch relationships. “The basic principle of the keyboard is that any key that is twelve half steps [the interval ...
Lesson_LLL_-_Mixture..
... degrees 3, 6, and 7, so it is at these points that mixture will occur. In both major and minor keys, chords borrowed from the parallel key can intensify the drama of a musical texture. Some instances of mixture can be seen as a result of strengthening the basic interval progressions governing the vo ...
... degrees 3, 6, and 7, so it is at these points that mixture will occur. In both major and minor keys, chords borrowed from the parallel key can intensify the drama of a musical texture. Some instances of mixture can be seen as a result of strengthening the basic interval progressions governing the vo ...
Complete Appendices
... Cut time (Alla breve) The time signature C or 2/2 time; simple duple meter with the half note as the pulse note. D.C. al Fine It. “Da Capo” (“to the head”) directs the musician to return to the beginning and repeat, ending at the word Fine (the end). D.S. al Fine It. “Dal Segno” (“to the sign”) dire ...
... Cut time (Alla breve) The time signature C or 2/2 time; simple duple meter with the half note as the pulse note. D.C. al Fine It. “Da Capo” (“to the head”) directs the musician to return to the beginning and repeat, ending at the word Fine (the end). D.S. al Fine It. “Dal Segno” (“to the sign”) dire ...
The Triad in First Inversion: Tonic, Subdominant, and Dominant Triads
... century until the beginning of the 20th century, this preparation and resolution is necessary. Bach used the second inversion less often than one would expect. The following table shows the five second inversion chords and their use. ...
... century until the beginning of the 20th century, this preparation and resolution is necessary. Bach used the second inversion less often than one would expect. The following table shows the five second inversion chords and their use. ...
Dictionary of Musical Terms
... Augmented - The term for a major or perfect interval which has been enlarged by one half-step, e.g. c-g , (an augmented fifth,) or c-d , (an augmented second). Also used for a triad with an augmented fifth, e.g. the augmented tonic triad in C major, C+, c-e-g . Baby grand - A small grand piano. Bal ...
... Augmented - The term for a major or perfect interval which has been enlarged by one half-step, e.g. c-g , (an augmented fifth,) or c-d , (an augmented second). Also used for a triad with an augmented fifth, e.g. the augmented tonic triad in C major, C+, c-e-g . Baby grand - A small grand piano. Bal ...
DISCOVERING CHORD IDIOMS THROUGH BEATLES AND REAL BOOK SONGS
... are classified major and 20% minor, leaving only a tiny fraction to the other chord classes. The Jazz standards in the Real Book are more balanced in that respect and feature only 54% of major chords leaving 33% to the minor chords and 6% to the diminished chords. 3.2 The Most Commonly Used Chord Se ...
... are classified major and 20% minor, leaving only a tiny fraction to the other chord classes. The Jazz standards in the Real Book are more balanced in that respect and feature only 54% of major chords leaving 33% to the minor chords and 6% to the diminished chords. 3.2 The Most Commonly Used Chord Se ...
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.