![Mathemusical Thought - LUC Sakai](http://s1.studyres.com/store/data/007750868_1-a39bfb6b20d3f49c06b935049ebef27e-300x300.png)
Mathemusical Thought - LUC Sakai
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
Half Steps and Whole Steps
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
Pitch-Class Set Theory 1
... there are some real aural similarities – major and minor triads are a lot more similar to each other than to most other collections of three random pitch classes. As we use pitchclass set theory you will want to keep an ear out – on a case-by-case basis – for whether ...
... there are some real aural similarities – major and minor triads are a lot more similar to each other than to most other collections of three random pitch classes. As we use pitchclass set theory you will want to keep an ear out – on a case-by-case basis – for whether ...
NGFL_Shost_movt_3_analysis
... idea of a traditional waltz as a leisurely and graceful dance in 3/4 time was not always respected by this composer; instead, his waltzes were sometimes dark, uneasy, devilish and even, at times, somewhat distorted. (Listen to other examples from his Fourth Symphony, Tenth Symphony, or the First and ...
... idea of a traditional waltz as a leisurely and graceful dance in 3/4 time was not always respected by this composer; instead, his waltzes were sometimes dark, uneasy, devilish and even, at times, somewhat distorted. (Listen to other examples from his Fourth Symphony, Tenth Symphony, or the First and ...
Mozart PowerPoint
... the same time the upper strings play a new quaver tune called a counter-melody. Notice how this new melody is staccato to help make it stand out against the legato theme. • The role of the woodwind (except bassoons) is to provide chordal harmonic support during this long passage up to bar 132. The h ...
... the same time the upper strings play a new quaver tune called a counter-melody. Notice how this new melody is staccato to help make it stand out against the legato theme. • The role of the woodwind (except bassoons) is to provide chordal harmonic support during this long passage up to bar 132. The h ...
MONOPHONIC!AND! POLYPHONIC!MUSIC!
... One!way!to!remember!the!term!polyphonic!is!to!consider!its!parts:! “poly”!+!“phonic”!=!“polyphonic”! “many”!!!!!+!“sounds”!=!“many!sounds”!(two!or!more!melodies)! Remember,!polyphonic!texture!consists!of!several!melodies!performed!together!at!the! same!time.! Polyphonic!music!can!be:! ...
... One!way!to!remember!the!term!polyphonic!is!to!consider!its!parts:! “poly”!+!“phonic”!=!“polyphonic”! “many”!!!!!+!“sounds”!=!“many!sounds”!(two!or!more!melodies)! Remember,!polyphonic!texture!consists!of!several!melodies!performed!together!at!the! same!time.! Polyphonic!music!can!be:! ...
Classic series Brochure
... Adjust the volume to suit any environment. Instantly increase the output to match ...
... Adjust the volume to suit any environment. Instantly increase the output to match ...
Musical Scales - Rick Bradford Home Page
... However, this is not the scale which Western music has adopted at any period in history. The two notes which we invented to fill the over-large gap in our first attempt at a scale do not exist in modern (or classical) music. These are the second and seventh notes of our scale, lying respectively mid ...
... However, this is not the scale which Western music has adopted at any period in history. The two notes which we invented to fill the over-large gap in our first attempt at a scale do not exist in modern (or classical) music. These are the second and seventh notes of our scale, lying respectively mid ...
Calami sonum ferentes - Rore`s Chromatic Enigma
... fifth, it was recognised at the time that the smaller consonances of a major and minor third did not: Willaert in Venice – ‘ . .when [the major third] is placed in the bass, it seems to make an indefinably dismal effect . . .which offends my ear greatly’. And Claudio Merulo, organist of St Marks – ‘ ...
... fifth, it was recognised at the time that the smaller consonances of a major and minor third did not: Willaert in Venice – ‘ . .when [the major third] is placed in the bass, it seems to make an indefinably dismal effect . . .which offends my ear greatly’. And Claudio Merulo, organist of St Marks – ‘ ...
Computer Notation-based Music Composition and the Delayed
... term “audiation”, meaning “to think in sound”, it is the author’s contention that more experienced composers audiate when composing: they know the sounds they want to hear and how to notate them, and thus they enter the musical notes and the musical expression markings onto their scores at around th ...
... term “audiation”, meaning “to think in sound”, it is the author’s contention that more experienced composers audiate when composing: they know the sounds they want to hear and how to notate them, and thus they enter the musical notes and the musical expression markings onto their scores at around th ...
Dhrupad - Dagarvani.org
... Dhrupad was the dominant form of classical vocal music in North India until the eighteen century when khayal (thought, imagination), a lighter, faster and more florid form gained wider acceptance. A dhrupad performance starts with the alap, an extended melodic improvisation without lyrics or rhythmi ...
... Dhrupad was the dominant form of classical vocal music in North India until the eighteen century when khayal (thought, imagination), a lighter, faster and more florid form gained wider acceptance. A dhrupad performance starts with the alap, an extended melodic improvisation without lyrics or rhythmi ...
The Timpani and Their Performance (Fifteenth to Twentieth
... Much thicker and more refined than hat felt, this material could be sliced into pieces of different thickness, enab-ling the kettledrummer to have several pairs of sticks of the same type from very hard to very soft, encompassing the entire dynamic range required by the music he played. The timpanis ...
... Much thicker and more refined than hat felt, this material could be sliced into pieces of different thickness, enab-ling the kettledrummer to have several pairs of sticks of the same type from very hard to very soft, encompassing the entire dynamic range required by the music he played. The timpanis ...
Chopin – Prelude No.15 in Db major, Op.28
... Chopin’s preludes stand alone (no fugue following them) Each depicts a specific idea or emotion. Although all preludes, nocturnes and etude had titles in early editions, these were not given by the composers. Written during his period of recuperation at the deserted monastery in Valldemossa, Majorca ...
... Chopin’s preludes stand alone (no fugue following them) Each depicts a specific idea or emotion. Although all preludes, nocturnes and etude had titles in early editions, these were not given by the composers. Written during his period of recuperation at the deserted monastery in Valldemossa, Majorca ...
to the Koto Nation manual.
... A large assortment of tonal, pitched glissandi played with the standard pentatonic hira joshi tuning (D, Eb, G, A, Bb). Each octave contains a different set of glissandi described below. C0-B0 = Fast ascending glissando. Higher velocities increase speed. C1-B1 = Slower ascending glissando. C2-B2 = F ...
... A large assortment of tonal, pitched glissandi played with the standard pentatonic hira joshi tuning (D, Eb, G, A, Bb). Each octave contains a different set of glissandi described below. C0-B0 = Fast ascending glissando. Higher velocities increase speed. C1-B1 = Slower ascending glissando. C2-B2 = F ...
final paper - Smith College
... using dynamics and/or articulation. The main part of the manipulation of the minuet was done in mozartpart( ) in instruments.k. Having only dabbled in musical composition for the duration of this Digital Music class, I explored upon possible composition methods. After reading the Dramatic Shape sect ...
... using dynamics and/or articulation. The main part of the manipulation of the minuet was done in mozartpart( ) in instruments.k. Having only dabbled in musical composition for the duration of this Digital Music class, I explored upon possible composition methods. After reading the Dramatic Shape sect ...
Read Liner Notes Here
... Until the mid-20th century, vocals were usually the most important element of Hawaiian music, and the guitar was mainly relegated to a back-up role, often grouped with other instruments to accompany hula and singing. Slack key guitarists usually did not play the exact melody of the song, but played ...
... Until the mid-20th century, vocals were usually the most important element of Hawaiian music, and the guitar was mainly relegated to a back-up role, often grouped with other instruments to accompany hula and singing. Slack key guitarists usually did not play the exact melody of the song, but played ...
A GUIDE TO PEDAGOGICAL RESOURCES FOR IMPROVISATION
... numerals for chord letter names in order to facilitate transposition to different keys. Chord qualities are indicated in a similar manner to standard letter name or Roman numeral charts (ex. 6m for a minor chord built on the sixth scale degree). Measures containing more than one chord can be notated ...
... numerals for chord letter names in order to facilitate transposition to different keys. Chord qualities are indicated in a similar manner to standard letter name or Roman numeral charts (ex. 6m for a minor chord built on the sixth scale degree). Measures containing more than one chord can be notated ...
Galileo`s Father
... • 1532 – 1594, Orlando di Lasso (last of the Renaissance) • 1480 – 1562, Adriano Willaert (first of the Baroque) ...
... • 1532 – 1594, Orlando di Lasso (last of the Renaissance) • 1480 – 1562, Adriano Willaert (first of the Baroque) ...
Lesson XXX: Major Keys and Key Signatures
... In tonal music, a piece will primarily use pitches from a major or minor scale, and it is therefore in a major or minor key. Suppose you are looking at a piece of music that is written in a major key. Instead of writing out every sharp or flat next to the relevant notes from the corresponding major ...
... In tonal music, a piece will primarily use pitches from a major or minor scale, and it is therefore in a major or minor key. Suppose you are looking at a piece of music that is written in a major key. Instead of writing out every sharp or flat next to the relevant notes from the corresponding major ...
Let`s start! - WordPress.com
... Polyphonic music consists of two or more voices, but it is distinct from heterophony. In heterophonic texture, the part that all voices play is based upon the same melody (though the same notes may not be played). Polyphony is based on counterpoint. Counterpoint is a Latin term that in musical terms ...
... Polyphonic music consists of two or more voices, but it is distinct from heterophony. In heterophonic texture, the part that all voices play is based upon the same melody (though the same notes may not be played). Polyphony is based on counterpoint. Counterpoint is a Latin term that in musical terms ...
Chords and Ragas based on the Melodic minor scale
... Since a Pa note is absent and two Dha notes are present, this scale is not a Melakarta raga. But, if we avoid some of the notes, we can find similarities with some janya ragas. For example if we do not use the D1, the resulting scale has the same notes as the Raga Kalyani, without a Pa. Look for jan ...
... Since a Pa note is absent and two Dha notes are present, this scale is not a Melakarta raga. But, if we avoid some of the notes, we can find similarities with some janya ragas. For example if we do not use the D1, the resulting scale has the same notes as the Raga Kalyani, without a Pa. Look for jan ...
Unit 4 - Intervals
... what the interval would be without the accidental and adjust. For example: G# to E is a minor 6th. Because G# is not a standard key signature, we determine that G to E is a MAJOR 6th and because the bottom note is sharp, it reduces the quality by one half step to a minor 6th. ** Remember that when y ...
... what the interval would be without the accidental and adjust. For example: G# to E is a minor 6th. Because G# is not a standard key signature, we determine that G to E is a MAJOR 6th and because the bottom note is sharp, it reduces the quality by one half step to a minor 6th. ** Remember that when y ...
Clarinet Warm-Up
... The most important part of any day's practice time is the warm up period. I have a comprehensive warm-up that I use daily in my teaching and playing. I feel that each aspect of the warm-up should lead to the next, and that the objective should be a warm up of all muscle groups from large to small. T ...
... The most important part of any day's practice time is the warm up period. I have a comprehensive warm-up that I use daily in my teaching and playing. I feel that each aspect of the warm-up should lead to the next, and that the objective should be a warm up of all muscle groups from large to small. T ...
Movement I (Largo) – overall comment
... THEMES: This first arioso is very chromatic in shape. Note that the first 5 notes include the pitches of the DSCH in descending order, plus the D¨ – the flattened supertonic. The 9-8 suspension heard in violin 2 at bar 25 in the previous section feels as if it is being thematically developed here (i ...
... THEMES: This first arioso is very chromatic in shape. Note that the first 5 notes include the pitches of the DSCH in descending order, plus the D¨ – the flattened supertonic. The 9-8 suspension heard in violin 2 at bar 25 in the previous section feels as if it is being thematically developed here (i ...
Medieval music - WordPress.com
... the extent of changing to another rhythmic mode. The next step forward concerning rhythm came from the German theorist Franco of Cologne . In his treatise Ars Cantus Mensurabilis ("The Art of Mensurable Music"), written around 1280, he describes a system of notation in which differently shaped notes ...
... the extent of changing to another rhythmic mode. The next step forward concerning rhythm came from the German theorist Franco of Cologne . In his treatise Ars Cantus Mensurabilis ("The Art of Mensurable Music"), written around 1280, he describes a system of notation in which differently shaped notes ...
Figured bass
![](https://commons.wikimedia.org/wiki/Special:FilePath/Purcell_diatonic_chromaticism.png?width=300)
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.