Articulation - OpenStax CNX
... to slur notes will be completely dierent from the technique used by a trumpet5 player, and a pianist and a vocalist will do dierent things to make a melody sound legato. In fact, the violinist will have some articulations available (such as pizzicato, or "plucked") that a trumpet player will never ...
... to slur notes will be completely dierent from the technique used by a trumpet5 player, and a pianist and a vocalist will do dierent things to make a melody sound legato. In fact, the violinist will have some articulations available (such as pizzicato, or "plucked") that a trumpet player will never ...
Tone and Voice: A Derivation of the Rules of Voice
... the region between F2 and G5, roughly centered near D4. [D3.] Sustained Tones Rule In general, effective voice-leading is best assured by employing sustained tones in close succession, with few silent gaps or interruptions. D4. Chord Spacing Rule. In general, chordal tones should be spaced with wide ...
... the region between F2 and G5, roughly centered near D4. [D3.] Sustained Tones Rule In general, effective voice-leading is best assured by employing sustained tones in close succession, with few silent gaps or interruptions. D4. Chord Spacing Rule. In general, chordal tones should be spaced with wide ...
GLOSSARY
... Chimes fall between the notes of the piano which is tuned to a modern system called equal temperament. This makes our products not only authentic when we tune to ancient scales, but also gives the sound its beautiful and unique quality for which we are known. Each and every tube or rod used in our s ...
... Chimes fall between the notes of the piano which is tuned to a modern system called equal temperament. This makes our products not only authentic when we tune to ancient scales, but also gives the sound its beautiful and unique quality for which we are known. Each and every tube or rod used in our s ...
Spectral analysis of different harmonies Implemented by Equal
... environment including instruments, musical scales, and tuning system also evolved. The tuning system and musical scales of Greek age also were significantly different from today’s equal temperament based tuning system and scales. For example, the Greek music what Aristoxenus suggests is entirely bas ...
... environment including instruments, musical scales, and tuning system also evolved. The tuning system and musical scales of Greek age also were significantly different from today’s equal temperament based tuning system and scales. For example, the Greek music what Aristoxenus suggests is entirely bas ...
Y3 / Y4 Music
... Can chd establish that this period is closely related to Mozart’s classical period however it is the beginning of the romantic period and place it on a timeline? ( growing timeline in the music room) What was happening at the time, give context? Place of birth Can chd identify the purpose of Beethov ...
... Can chd establish that this period is closely related to Mozart’s classical period however it is the beginning of the romantic period and place it on a timeline? ( growing timeline in the music room) What was happening at the time, give context? Place of birth Can chd identify the purpose of Beethov ...
Slashes, Dashes, Points, and Squares
... the c′ line, so that the lines represent B, d, f and a. Chant has never used more than four stavelines.” 12 At this point the notes became more important on the page than the words. “Music written on staves takes up much more room than the neumatic script occupying a thin band only.” 13 This was sim ...
... the c′ line, so that the lines represent B, d, f and a. Chant has never used more than four stavelines.” 12 At this point the notes became more important on the page than the words. “Music written on staves takes up much more room than the neumatic script occupying a thin band only.” 13 This was sim ...
Chapter One Introduction to Quarter
... There is little mention of microtonal music in primary academic scholarship, and what little exists often comprises only a brief en passant reference to microtonal music embedded within a topic that deals primarily with non-microtonal music. Even though the repertoire of microtonal compositions is g ...
... There is little mention of microtonal music in primary academic scholarship, and what little exists often comprises only a brief en passant reference to microtonal music embedded within a topic that deals primarily with non-microtonal music. Even though the repertoire of microtonal compositions is g ...
Elementary Music Outcomes
... 1. follow vocal score, words and notes together. a. identify proper singing posture b. identify soprano and alto parts in a vocal score c. perform soprano and alto parts together by reading the vocal score 2. identify good posture and breathing. a. identify proper singing posture b. demonstrate prop ...
... 1. follow vocal score, words and notes together. a. identify proper singing posture b. identify soprano and alto parts in a vocal score c. perform soprano and alto parts together by reading the vocal score 2. identify good posture and breathing. a. identify proper singing posture b. demonstrate prop ...
A Conductor`s Outline of Frank Erickson`s Toccata for Band
... recapitulation of the primary theme: measures 123-47 are identical to measures 30-54. Interjected development section (mm. 144-87) Although the music continues in measures 14447 as at 55 ff., the “left turn” at measure 148, where the music suddenly swerves into E! major, forces us to reconsider its ...
... recapitulation of the primary theme: measures 123-47 are identical to measures 30-54. Interjected development section (mm. 144-87) Although the music continues in measures 14447 as at 55 ff., the “left turn” at measure 148, where the music suddenly swerves into E! major, forces us to reconsider its ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... A phrase is a relatively independent musical idea terminated by a cadence A sub-phrase is a distinct portion of a phrase , but it is NOT a phrase because it is not terminated by a cadence Essentially, a subphrase is a melodic event, whereas a phrase is a harmonic event Phrases are usually la ...
... A phrase is a relatively independent musical idea terminated by a cadence A sub-phrase is a distinct portion of a phrase , but it is NOT a phrase because it is not terminated by a cadence Essentially, a subphrase is a melodic event, whereas a phrase is a harmonic event Phrases are usually la ...
NCEA Level 1 Music (91094) 2014 Assessment Schedule
... Variation of the melodic phrase in bars 61–62: bar 64 – rhythm / pitch (melody): shortened duration of note for “shoes” / addition of note for “yeah” bar 65 – harmony: changes (to a D major chord) bar 65 – rhythm: anticipation / syncopation of “blue” on last quaver bar 66 – rhythm / pitch (m ...
... Variation of the melodic phrase in bars 61–62: bar 64 – rhythm / pitch (melody): shortened duration of note for “shoes” / addition of note for “yeah” bar 65 – harmony: changes (to a D major chord) bar 65 – rhythm: anticipation / syncopation of “blue” on last quaver bar 66 – rhythm / pitch (m ...
Why are pianos out of tune?
... 12 fifths we need to multiply 3/2 by itself twelve times, and that's over 129. So they're not the same, even though they agree on a piano. What's going on here? We've been going around the circle of fifths, C, G, D, A, E, B, F#, C#, G#, D#, A#, E# (or F), and finally C. But what we've really reache ...
... 12 fifths we need to multiply 3/2 by itself twelve times, and that's over 129. So they're not the same, even though they agree on a piano. What's going on here? We've been going around the circle of fifths, C, G, D, A, E, B, F#, C#, G#, D#, A#, E# (or F), and finally C. But what we've really reache ...
Music P1 MEMO ENG1
... Very good use of opening motif with the use of sequence and/or inversion, etc. Shows understanding of form with a repetition of the opening motif. Melody has a good melodic curve with an obvious climax. Fairly well-suited to the chosen instrument. Fairly good use of opening motif, but not much use o ...
... Very good use of opening motif with the use of sequence and/or inversion, etc. Shows understanding of form with a repetition of the opening motif. Melody has a good melodic curve with an obvious climax. Fairly well-suited to the chosen instrument. Fairly good use of opening motif, but not much use o ...
Chapter 2 ELEMENTS AND CONCEPTS OF MUSIC
... improvisation is largely about creating new melodies. These improvised melodies, however, will often be distinct from that of the original composition. Normally, in most styles of jazz, only one musician improvises a melody at a time. This is referred to as ‗taking a solo‘. This phrase further empha ...
... improvisation is largely about creating new melodies. These improvised melodies, however, will often be distinct from that of the original composition. Normally, in most styles of jazz, only one musician improvises a melody at a time. This is referred to as ‗taking a solo‘. This phrase further empha ...
Appendix 4 Modes
... The music of Europe from the Middle Ages to the end of the Renaissance (from the Fall of Rome in 476 to around 1600) was based on a system of scales called modes; we identify this music as “modal music.” Two of these modes, the Ionian and Aeolian modes, continued to be used in Western music from aro ...
... The music of Europe from the Middle Ages to the end of the Renaissance (from the Fall of Rome in 476 to around 1600) was based on a system of scales called modes; we identify this music as “modal music.” Two of these modes, the Ionian and Aeolian modes, continued to be used in Western music from aro ...
Appendix 6
... The music of Europe from the Middle Ages to the end of the Renaissance (from the Fall of Rome in 476 to around 1600) was based on a system of scales called modes; we identify this music as “modal music”. Two of these modes, the Ionian and Aeolian modes, continued to be used in Western music from aro ...
... The music of Europe from the Middle Ages to the end of the Renaissance (from the Fall of Rome in 476 to around 1600) was based on a system of scales called modes; we identify this music as “modal music”. Two of these modes, the Ionian and Aeolian modes, continued to be used in Western music from aro ...
Grace Lee
... Violin, and are better suited that way to give the Cello its unique sound. The Cello is played by rubbing the bow string over the Cello strings, both in left and right directions. ...
... Violin, and are better suited that way to give the Cello its unique sound. The Cello is played by rubbing the bow string over the Cello strings, both in left and right directions. ...
File
... distinct pitches are heard; used primarily in the huapangos and borrowed from joropo; also called tapón and tope. Apoyadura: (appoggiatura) this denotes a lower neighbor grace note; the apoyadura is more commonly used in the sones than any other music form and sometimes it may be accented. Armonia: ...
... distinct pitches are heard; used primarily in the huapangos and borrowed from joropo; also called tapón and tope. Apoyadura: (appoggiatura) this denotes a lower neighbor grace note; the apoyadura is more commonly used in the sones than any other music form and sometimes it may be accented. Armonia: ...
Playing Melodically and Harmonically in Tune Michael Kimber One
... pure fifths (starting from our open strings); our sharps are a shade higher, our flats a shade lower, than in the scale of equal temperament. However, when we are more focused on harmonic blend, as in double stops and chords, we may favor just intonation, which actually involves some reversals of th ...
... pure fifths (starting from our open strings); our sharps are a shade higher, our flats a shade lower, than in the scale of equal temperament. However, when we are more focused on harmonic blend, as in double stops and chords, we may favor just intonation, which actually involves some reversals of th ...
"Clavichord Music of Johann Kuhnau and CPE Bach" Joan Benson
... wherever that could be appropriately done. And after awhile the listener becomes aware that too many notes, in both slow and fast tempos, are left too quickly, sometimes so quickly that one hears only a thump rather than a pitch. This is hard to avoid on the pedal-less clavichord, but, as Bach put i ...
... wherever that could be appropriately done. And after awhile the listener becomes aware that too many notes, in both slow and fast tempos, are left too quickly, sometimes so quickly that one hears only a thump rather than a pitch. This is hard to avoid on the pedal-less clavichord, but, as Bach put i ...
paper - Personal Web Pages
... however, the standard music notation they read and the ways they read it assume 12Tet. There is no standard for indicating the exact measurements in cents of pitch adjustments that deviate from 12Tet, yet some means of indication must be applied for the sake of musicians who would perform pitch-adju ...
... however, the standard music notation they read and the ways they read it assume 12Tet. There is no standard for indicating the exact measurements in cents of pitch adjustments that deviate from 12Tet, yet some means of indication must be applied for the sake of musicians who would perform pitch-adju ...
The Art of the Natural
... entire effort went toward elaborating ... it according to the rules of art...” (Bonds p. 300) ...
... entire effort went toward elaborating ... it according to the rules of art...” (Bonds p. 300) ...
Sequential Guide for Music Instruction Orchestra
... knee should be used as a back support for the double bass, and can help adjust the bass angle in order to reach all strings comfortably. If standing, feet should be hip-width apart, with left leg slightly forward. When either sitting or standing, bass should be angled so that it rests on the inside ...
... knee should be used as a back support for the double bass, and can help adjust the bass angle in order to reach all strings comfortably. If standing, feet should be hip-width apart, with left leg slightly forward. When either sitting or standing, bass should be angled so that it rests on the inside ...
"A History of Pianoforte Pedaling." By David Rowland
... . . . of 'syncopated' pedaling" leads Rowland to comment on the apparent reluctance of some pianists to adopt it. Here we find his only mention of "the more articulated style [of pedaling] that inevitably results from pedaling on the beat (often referred to as 'rhythmic' pedaling)" (p. 119). Althoug ...
... . . . of 'syncopated' pedaling" leads Rowland to comment on the apparent reluctance of some pianists to adopt it. Here we find his only mention of "the more articulated style [of pedaling] that inevitably results from pedaling on the beat (often referred to as 'rhythmic' pedaling)" (p. 119). Althoug ...
Composing for The Viola da Gamba
... Tessitura: For the treble and the tenor viols, the upper strings tend to sing out more while some of the lower strings will tend to sound somewhat “boxy.” The significant exception to this is the Bass viol, which revels in its lower strings, and yet can produce wonderfully lyric tones in the upper r ...
... Tessitura: For the treble and the tenor viols, the upper strings tend to sing out more while some of the lower strings will tend to sound somewhat “boxy.” The significant exception to this is the Bass viol, which revels in its lower strings, and yet can produce wonderfully lyric tones in the upper r ...
Figured bass
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.