Two Chinese Contemporary piano works "Combination of Long and
... motive B the legato slurs appear over every two dotted quarter notes in the left hand. It imitates people dancing to instrumental accompaniment. The melodic shape zigzags up and down around the tonal center F and dominant pitch C. These melodic dyads mostly are in diminished 5th or augmented 4th int ...
... motive B the legato slurs appear over every two dotted quarter notes in the left hand. It imitates people dancing to instrumental accompaniment. The melodic shape zigzags up and down around the tonal center F and dominant pitch C. These melodic dyads mostly are in diminished 5th or augmented 4th int ...
Summary of Tonal Harmony - Leon Couch`s Course Listings
... 1. All the rest of the non-chord tones are pt, nt, susp, with either the approach or the resolution disrupted. The only absolutely forbidden NCT is one with leaps on both sides of a dissonance; i.e., arpeggios must outline a chord. 2. The pedal point is considered dissonant by K&P while harmonies pr ...
... 1. All the rest of the non-chord tones are pt, nt, susp, with either the approach or the resolution disrupted. The only absolutely forbidden NCT is one with leaps on both sides of a dissonance; i.e., arpeggios must outline a chord. 2. The pedal point is considered dissonant by K&P while harmonies pr ...
On the Emergence of the Major-Minor System
... order to determine whether the work is in mode X or mode Y, we need pre-existing distributions for both modes. The pertinent distributions, however, would be the mode distributions as they existed at the time the musical work was created. But, to create pertinent distributions for that time period w ...
... order to determine whether the work is in mode X or mode Y, we need pre-existing distributions for both modes. The pertinent distributions, however, would be the mode distributions as they existed at the time the musical work was created. But, to create pertinent distributions for that time period w ...
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... Ganassi, Sylvestro. Regola Rubertina and Lettione Seconda. Venice 1542-1543. English translation by Richard Bodig. Artarmon NSW Australia: Saraband Music, 1999 Gouk, Penelope. Music, Science, and Natural Magic in Seventeenth-Century England. London: Yale University Press, 1999 Helmholtz, Herman von. ...
... Ganassi, Sylvestro. Regola Rubertina and Lettione Seconda. Venice 1542-1543. English translation by Richard Bodig. Artarmon NSW Australia: Saraband Music, 1999 Gouk, Penelope. Music, Science, and Natural Magic in Seventeenth-Century England. London: Yale University Press, 1999 Helmholtz, Herman von. ...
A Field Guide to Chromaticism
... called chromatically altered chords which aren't in any of the categories we have identified so far, and which are marked by the inclusion of at least one factor which is in neither the major nor any minor scales of one key. They are defined, in part, by genuinely chromatic intervals: the augmented ...
... called chromatically altered chords which aren't in any of the categories we have identified so far, and which are marked by the inclusion of at least one factor which is in neither the major nor any minor scales of one key. They are defined, in part, by genuinely chromatic intervals: the augmented ...
The Development of the Keyboard Through the Grand Piano and Its
... Thus the clavichord possessed four of the most vital points of the modern pianoforte: the independent soundboard, metal strings, the percussion method of agitating the string, the tangent touching or striking the string, instead of plucking or pricking, and lastly the application of the damper. (197 ...
... Thus the clavichord possessed four of the most vital points of the modern pianoforte: the independent soundboard, metal strings, the percussion method of agitating the string, the tangent touching or striking the string, instead of plucking or pricking, and lastly the application of the damper. (197 ...
Music, Cognition, and Computerized Sound: Chap14
... Beats are the chief means for tuning musical instruments precisely. Through a sense of pitch and a memory of intervals, those with musical ability can tune one note of a piano keyboard to approximately the right interval from another note. But it is by beats that the final tuning is made. In tuning ...
... Beats are the chief means for tuning musical instruments precisely. Through a sense of pitch and a memory of intervals, those with musical ability can tune one note of a piano keyboard to approximately the right interval from another note. But it is by beats that the final tuning is made. In tuning ...
Major Diatonic Chords
... The types of seventh chords are: 1. The chords I7 and IV7 are major-major seventh (MM7) chords because they are composed of a major triad with a major seventh interval (C to B in I7) on top. 2. At ii7, iii7 and vi7 we have minor seventh (m7) chords, which are composed of a minor triad and a minor se ...
... The types of seventh chords are: 1. The chords I7 and IV7 are major-major seventh (MM7) chords because they are composed of a major triad with a major seventh interval (C to B in I7) on top. 2. At ii7, iii7 and vi7 we have minor seventh (m7) chords, which are composed of a minor triad and a minor se ...
How to Play the Chromatic Scale
... chromatic scale can be easily represented by what we call the chromatic number line: ...
... chromatic scale can be easily represented by what we call the chromatic number line: ...
The Twelve-Tone Method of Musical Construction
... 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 your row to contain several examples of a particular interval (say, 3rds of various sizes) then aim for balanced n ...
... 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 your row to contain several examples of a particular interval (say, 3rds of various sizes) then aim for balanced n ...
11ths and 13ths - Scored Changes
... Note that this same chord can be found written differently. C11 automatically implies that the major 3rd is omitted. The third symbol (in the second bar) shows that the same chord can be thought of as being a minor 7th on a pedal note a perfect fifth below. This is often easier for a piano player to ...
... Note that this same chord can be found written differently. C11 automatically implies that the major 3rd is omitted. The third symbol (in the second bar) shows that the same chord can be thought of as being a minor 7th on a pedal note a perfect fifth below. This is often easier for a piano player to ...
Glossary of Common Musical Terms and Concepts
... harmonic minor scale - a minor scale with the 7th note raised one semitone melodic minor scale - a minor scale with the 6th and 7th notes raised a semitone when ascending, and put back to normal when descending minor pentatonic scale - a major pentatonic scale starting on the 6th degree; or, a scale ...
... harmonic minor scale - a minor scale with the 7th note raised one semitone melodic minor scale - a minor scale with the 6th and 7th notes raised a semitone when ascending, and put back to normal when descending minor pentatonic scale - a major pentatonic scale starting on the 6th degree; or, a scale ...
Claviers - Slowind
... Vito Žuraj Pierre Boulez (b. 1925) Notations (1945) for piano It is no less than 70 years since the early miniature pieces of one of the most influential and multifaceted figures of contemporary music of the 20th and 21st centuries were written. It is interesting to note that they came into being ro ...
... Vito Žuraj Pierre Boulez (b. 1925) Notations (1945) for piano It is no less than 70 years since the early miniature pieces of one of the most influential and multifaceted figures of contemporary music of the 20th and 21st centuries were written. It is interesting to note that they came into being ro ...
Benward Chapter 6
... creating the feeling of a tonal center by using all the twelve chromatic tones in a prearranged order that does not lay particular emphasis on any one pitch in the composition as a whole. This method of composing is based on a twelvetone row rather than on a scale. Music that avoids the feelings of ...
... creating the feeling of a tonal center by using all the twelve chromatic tones in a prearranged order that does not lay particular emphasis on any one pitch in the composition as a whole. This method of composing is based on a twelvetone row rather than on a scale. Music that avoids the feelings of ...
Milhaud Describes Polytonality
... The revolution in harmony that characterizes music in the early decades of the twentieth century led composers and writers at this time to look for principles governing new harmonic resources. One such musician was Darius Milhaud, who in music of the 1920s experimented with the simultaneous use of m ...
... The revolution in harmony that characterizes music in the early decades of the twentieth century led composers and writers at this time to look for principles governing new harmonic resources. One such musician was Darius Milhaud, who in music of the 1920s experimented with the simultaneous use of m ...
WAYS TO REMEMBER MUSIC THEORY
... To find other dominant 7th chords, you can use a different approach. Start with the major 7th chords and then flatten the 7th by a semitone. Once you have "discovered" the notes of a chord, you have to REMEMBER it. Play it several times, saying to yourself "Db major 7" or whatever. Compare it with o ...
... To find other dominant 7th chords, you can use a different approach. Start with the major 7th chords and then flatten the 7th by a semitone. Once you have "discovered" the notes of a chord, you have to REMEMBER it. Play it several times, saying to yourself "Db major 7" or whatever. Compare it with o ...
Tonal Atonality: An Analysis of Samuel Barber`s
... a progression of single notes doesn’t mean that they could not also appear simultaneously. For example, any number of pitches may be stacked on top of each other to create chords so long as they maintain the order of pitches within the tone row. Within the example tone row stated earlier, pitches 0, ...
... a progression of single notes doesn’t mean that they could not also appear simultaneously. For example, any number of pitches may be stacked on top of each other to create chords so long as they maintain the order of pitches within the tone row. Within the example tone row stated earlier, pitches 0, ...
a PDF version of this work.
... a dominant ninth chord. He uses this ninth chord to prepare tonic harmony, instead of using a simple Dominant triad. In measure 9, Chopin removes the third scale degree of the supertonic chord, and adds in the seventh scale degree to replace it. Chopin continually uses a major-minor seventh chord to ...
... a dominant ninth chord. He uses this ninth chord to prepare tonic harmony, instead of using a simple Dominant triad. In measure 9, Chopin removes the third scale degree of the supertonic chord, and adds in the seventh scale degree to replace it. Chopin continually uses a major-minor seventh chord to ...
Boland _1
... creative world) as much as to her personality. Beyer did, for example, perform some of her own cluster music for piano in one of the Composers’ Forum-Laboratory concerts, an initiative sponsored by the American government’s Depression-time administration.2 The performance would have required extrove ...
... creative world) as much as to her personality. Beyer did, for example, perform some of her own cluster music for piano in one of the Composers’ Forum-Laboratory concerts, an initiative sponsored by the American government’s Depression-time administration.2 The performance would have required extrove ...
File - Harris Ac Music
... Ornaments are "frills" or embellishments made on notes. An ornament is basically a historic shorthand method of indicating how a single note can be made more interesting. Ornaments first started to be used at the beginning of the 17th century, but the methods used to notate them varied quite a lot, ...
... Ornaments are "frills" or embellishments made on notes. An ornament is basically a historic shorthand method of indicating how a single note can be made more interesting. Ornaments first started to be used at the beginning of the 17th century, but the methods used to notate them varied quite a lot, ...
Music Theory 101 (Basic)
... such a way as to make musical sense and coherence. In short, the musical tune. Harmony- is the pleasing combination of tones in a chord. It forms the structure of a musical and vocal arrangement or chord progression. The other musical symbols that we will see on the Grand Staff are: 1. Key Signature ...
... such a way as to make musical sense and coherence. In short, the musical tune. Harmony- is the pleasing combination of tones in a chord. It forms the structure of a musical and vocal arrangement or chord progression. The other musical symbols that we will see on the Grand Staff are: 1. Key Signature ...
Western music history, pitch salience, key profiles, and the origins of
... Smoothness, fusion, familiarity ...
... Smoothness, fusion, familiarity ...
microtonal scale exploration in Central
... Figure 1: On the right the pitch class histogram is displayed. The horizontal axis represents an octave, that is divided into 1200 cents. The annotations made by Tarsos are projected on it. The five numbers under the axis are the pitch classes that have been localized by peak detection. The pitch cl ...
... Figure 1: On the right the pitch class histogram is displayed. The horizontal axis represents an octave, that is divided into 1200 cents. The annotations made by Tarsos are projected on it. The five numbers under the axis are the pitch classes that have been localized by peak detection. The pitch cl ...
Tone cluster
A tone cluster is a musical chord comprising at least three adjacent tones in a scale. Prototypical tone clusters are based on the chromatic scale and are separated by semitones. For instance, three adjacent piano keys (such as C, C♯, and D) struck simultaneously produce a tone cluster. Variants of the tone cluster include chords comprising adjacent tones separated diatonically, pentatonically, or microtonally. On the piano, such clusters often involve the simultaneous striking of neighboring white or black keys.The early years of the twentieth century saw tone clusters elevated to central roles in pioneering works by ragtime artists Jelly Roll Morton and Scott Joplin. In the 1910s, two classical avant-gardists, composer-pianists Leo Ornstein and Henry Cowell, were recognized as making the first extensive explorations of the tone cluster. During the same period, Charles Ives employed them in several compositions that were not publicly performed until the late 1920s or 1930s. Composers such as Béla Bartók and, later, Lou Harrison and Karlheinz Stockhausen became proponents of the tone cluster, which feature in the work of many twentieth- and twenty-first-century classical composers. Tone clusters play a significant role, as well, in the work of free jazz musicians such as Cecil Taylor and Matthew Shipp.In most Western music, tone clusters tend to be heard as dissonant. Clusters may be performed with almost any individual instrument on which three or more notes can be played simultaneously, as well as by most groups of instruments or voices. Keyboard instruments are particularly suited to the performance of tone clusters because it is relatively easy to play multiple notes in unison on them.