Brazilian Choro - Gorseinon Guitar
... (trio) or pau e corda (group consisting of flute, guitar, and cavaquinho). The flute played the ornamented melodies, while the guitar and cavaquinho provided the improvised harmonic and rhythmic accompaniment as well as the melodic counterpoint.10 Since there were no written arrangements, each instr ...
... (trio) or pau e corda (group consisting of flute, guitar, and cavaquinho). The flute played the ornamented melodies, while the guitar and cavaquinho provided the improvised harmonic and rhythmic accompaniment as well as the melodic counterpoint.10 Since there were no written arrangements, each instr ...
Tone and Voice: A Derivation of the Rules of Voice
... the pitch range for harmonic writing. Students should write in the region between F2 and G5. Although this region corresponds to the combined pitch range for typical male and female voices, it is noteworthy that students of harmony are encouraged to write in this region, even when writing purely ins ...
... the pitch range for harmonic writing. Students should write in the region between F2 and G5. Although this region corresponds to the combined pitch range for typical male and female voices, it is noteworthy that students of harmony are encouraged to write in this region, even when writing purely ins ...
The apparition from the forest
... The names of the compositions of Sibelius are given in the form of Dahlström’s index (see Bibliography). The principles in Dahlström (1987:5–6 and 2003: XXXVII, XXXIX, XLI) have also been followed in this study. In the footnotes compositions are listed according to opus number. Everywhere in this st ...
... The names of the compositions of Sibelius are given in the form of Dahlström’s index (see Bibliography). The principles in Dahlström (1987:5–6 and 2003: XXXVII, XXXIX, XLI) have also been followed in this study. In the footnotes compositions are listed according to opus number. Everywhere in this st ...
Schulenberg: Clavichord, p. 1 When Did the Clavichord Become
... The question posed in my title presupposes that the clavichord was indeed the favorite instrument of Carl Philipp Emanuel Bach, the second son of Johann Sebastian. I do not intend to dispute this; I do, however, wish to inquire what exactly it means to say that Emanuel Bach favored the clavichord; o ...
... The question posed in my title presupposes that the clavichord was indeed the favorite instrument of Carl Philipp Emanuel Bach, the second son of Johann Sebastian. I do not intend to dispute this; I do, however, wish to inquire what exactly it means to say that Emanuel Bach favored the clavichord; o ...
complete program notes
... did the development of an arrangement begin with a cursory “lead-sheet” of melody with chord changes. It required many hours of transcription (both melody and accompaniments) and then a refining process of what materials would be used in the final arrangement. In some cases (ex. the segue of Pixingu ...
... did the development of an arrangement begin with a cursory “lead-sheet” of melody with chord changes. It required many hours of transcription (both melody and accompaniments) and then a refining process of what materials would be used in the final arrangement. In some cases (ex. the segue of Pixingu ...
Theory of Music-Stravinsky
... influence so many composers working in the genre of ballet. In fact, Stravinsky’s influence was so broad that Time Magazine named him one of the most influential people of the 20th Century! http://en.wikipedia.org/wiki/Igor_Stravinsky More interesting, however, is the correlation of Stravinsky’s lif ...
... influence so many composers working in the genre of ballet. In fact, Stravinsky’s influence was so broad that Time Magazine named him one of the most influential people of the 20th Century! http://en.wikipedia.org/wiki/Igor_Stravinsky More interesting, however, is the correlation of Stravinsky’s lif ...
WOODWIND DOUBLING ON FOLK, ETHNIC, AND PERIOD
... musician to play each instrument. A small section of woodwind doublers also takes up far less space in an orchestra pit than a full orchestral woodwind section and saxophone section. While the practice of woodwind doubling at a high level is a demanding discipline, it can lead to increased employabi ...
... musician to play each instrument. A small section of woodwind doublers also takes up far less space in an orchestra pit than a full orchestral woodwind section and saxophone section. While the practice of woodwind doubling at a high level is a demanding discipline, it can lead to increased employabi ...
Troubles with Tonal Terminology
... when you try to be equally precise about chords 1‐4 because many music theorists insist on calling them ‘triadic’ even though chords 5‐7 are no less triadic than chords 1, 2 and 4. It is, I suppose, understandable that the stacking of thirds seemed to need no qualification as ...
... when you try to be equally precise about chords 1‐4 because many music theorists insist on calling them ‘triadic’ even though chords 5‐7 are no less triadic than chords 1, 2 and 4. It is, I suppose, understandable that the stacking of thirds seemed to need no qualification as ...
1.3. MUSICAL TERMS
... All the systems of world music admits of 12 svara sthanas. In addition to these 12, ten micro tones or srutis are used in classical music which gives a peculiar charm and colour to our music. All together there are 22 srutis in Indian music which have been in use for centuries. Various srutis can be ...
... All the systems of world music admits of 12 svara sthanas. In addition to these 12, ten micro tones or srutis are used in classical music which gives a peculiar charm and colour to our music. All together there are 22 srutis in Indian music which have been in use for centuries. Various srutis can be ...
Clef Transposition
... Transposition is useful in many situations, and each requires a method suited to its needs. Jazz musicians regularly transpose cadential passages and famous solos by ear to practice improvisation. Class piano and theory curricula often require students to transpose simple melodies and chord progress ...
... Transposition is useful in many situations, and each requires a method suited to its needs. Jazz musicians regularly transpose cadential passages and famous solos by ear to practice improvisation. Class piano and theory curricula often require students to transpose simple melodies and chord progress ...
A Musical Analysis-of-the- Transformations-of-the-Baker-and
... darker tone. The brighter major sevenths and unisons alternating with darker minor sevenths and lyric syncopation in the first part of the opening serve to expose the imperfect relationship of the Baker and his wife (Sondheim). The Act I Opening does not center itself on the couple again until Part ...
... darker tone. The brighter major sevenths and unisons alternating with darker minor sevenths and lyric syncopation in the first part of the opening serve to expose the imperfect relationship of the Baker and his wife (Sondheim). The Act I Opening does not center itself on the couple again until Part ...
Book 3 - Advanced
... In order that full advantage may be taken of these features it is suggested that the following broad guide-lines be adopted in approach to effective study. 1. Plan in advance how you intend to progress through the theory part of the curriculum. I.e.; sequentially – Lesson 1 followed by Lesson 2 etc. ...
... In order that full advantage may be taken of these features it is suggested that the following broad guide-lines be adopted in approach to effective study. 1. Plan in advance how you intend to progress through the theory part of the curriculum. I.e.; sequentially – Lesson 1 followed by Lesson 2 etc. ...
Influences and Musical Quotation in the Solo Piano
... happy with the piece, but it was just unexpected at that time” (Duffie, 2002). Within four years, Kernis received another coveted prize, the Grawemeyer Award (2002) for his work, Colored Field in its version for cello and orchestra; it was originally written for English horn and orchestra. Kernis ex ...
... happy with the piece, but it was just unexpected at that time” (Duffie, 2002). Within four years, Kernis received another coveted prize, the Grawemeyer Award (2002) for his work, Colored Field in its version for cello and orchestra; it was originally written for English horn and orchestra. Kernis ex ...
1 New Complexities: Ferneyhough and Parra by Joan Arnau Pàmies
... without caring so much about what the sonic result would be once he puts them all together. This is both true and false (ironically, it is much more complex than that). On the one hand, it is true because Ferneyhough does actually precompose the material separately. On the other hand, it is false be ...
... without caring so much about what the sonic result would be once he puts them all together. This is both true and false (ironically, it is much more complex than that). On the one hand, it is true because Ferneyhough does actually precompose the material separately. On the other hand, it is false be ...
A Survey And Bibliography Of Chamber Music
... treatise. Christina Bashford‟s “Chamber music” article in Grove Music Online makes one point that emphasizes how incompatible Romantic ideas were with ensembles without a balance between treble and bass. She states that 19th-century concert music from Beethoven‟s Op. 59 quartets and „Kreutzer‟ violi ...
... treatise. Christina Bashford‟s “Chamber music” article in Grove Music Online makes one point that emphasizes how incompatible Romantic ideas were with ensembles without a balance between treble and bass. She states that 19th-century concert music from Beethoven‟s Op. 59 quartets and „Kreutzer‟ violi ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
... most of his contemporaries use mode.26 This sense of “ton,” involving some sort of linear pitch ordering, forms the root of the word “tonality for Choron and Fétis. In the 19th century, “tonality” denotes not only the form of a “ton,” but also a more complex phenomenon; the character of the harmony ...
... most of his contemporaries use mode.26 This sense of “ton,” involving some sort of linear pitch ordering, forms the root of the word “tonality for Choron and Fétis. In the 19th century, “tonality” denotes not only the form of a “ton,” but also a more complex phenomenon; the character of the harmony ...
RCO Journal 2012_Whitehead - Royal College of Organists
... in particular, has once again been raised in recent years by commentators such as Laukvik, Geffert, Little and Ward Jones.1 This article is partly an exercise in siting his notational practices in a historical context, a (frequently underplayed) pre-condition of trying to make sense of them, and par ...
... in particular, has once again been raised in recent years by commentators such as Laukvik, Geffert, Little and Ward Jones.1 This article is partly an exercise in siting his notational practices in a historical context, a (frequently underplayed) pre-condition of trying to make sense of them, and par ...
Linear Chromatic Flyer - James Jones Instruments
... The Diatonic hammer dulcimer is built with a series of major scales up the bridge, with half of each scale on either side of the bridge. Each key is diatonic, meaning it has only the 8 notes of that scale. The missing four notes needed to make the major scale chromatic can often be found in other ke ...
... The Diatonic hammer dulcimer is built with a series of major scales up the bridge, with half of each scale on either side of the bridge. Each key is diatonic, meaning it has only the 8 notes of that scale. The missing four notes needed to make the major scale chromatic can often be found in other ke ...
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER
... —often mentioned this quality of constant, supple change. In his first glowing review of the piece, Louis Laloy, Debussy‘s most supportive critic and eventual confidante, wrote that Debussy‘s La mer contains ―all the glimmerings and shifting shadows, caresses and murmurs, gentle sweetness and fiery ...
... —often mentioned this quality of constant, supple change. In his first glowing review of the piece, Louis Laloy, Debussy‘s most supportive critic and eventual confidante, wrote that Debussy‘s La mer contains ―all the glimmerings and shifting shadows, caresses and murmurs, gentle sweetness and fiery ...
Music Flashcard Printouts.doc
... The chord is in this inversion when the third is on the bottom. ...
... The chord is in this inversion when the third is on the bottom. ...
Pythagorean tuning
... In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth), while 2:1 or 1:2 represent an ascending or descending octave. The major scale based on C, obtained from this tuning is:[5] In equal temperament, pai ...
... In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth), while 2:1 or 1:2 represent an ascending or descending octave. The major scale based on C, obtained from this tuning is:[5] In equal temperament, pai ...
Texture - Tim Wardrop
... texture is that it is difficult to anticipate where the piece will end, as usually no particular layer leads the piece. In the case of a fugue, which is a common example of polyphonic texture, the ‘subject’ is the driving force, with other musical lines maintaining it. With this type of texture, each ...
... texture is that it is difficult to anticipate where the piece will end, as usually no particular layer leads the piece. In the case of a fugue, which is a common example of polyphonic texture, the ‘subject’ is the driving force, with other musical lines maintaining it. With this type of texture, each ...
Telemann`s Zwanzig kleine Fugen!
... Zwanzig kleine Fugen thus set, the remainder of this article investigates the relationship between Telemann's chord progressions and the principles of Schenkerian analysis. Both aspects of composing-out and reduction are examined. Three fugues have been selected as examples to illustrate the relatio ...
... Zwanzig kleine Fugen thus set, the remainder of this article investigates the relationship between Telemann's chord progressions and the principles of Schenkerian analysis. Both aspects of composing-out and reduction are examined. Three fugues have been selected as examples to illustrate the relatio ...
Stravinsky and the Octatonic: A Reconsideration
... “dominant-seventh”7 chords a whole-step apart. Example 5(b) shows another passage from Petrouchka’s rst tableau: here, the registration of the scale suggests an augmented triad on B with a major seventh. (This sonority will reappear prominently in the Symphony of Psalms; see Example 14 below.) Exa ...
... “dominant-seventh”7 chords a whole-step apart. Example 5(b) shows another passage from Petrouchka’s rst tableau: here, the registration of the scale suggests an augmented triad on B with a major seventh. (This sonority will reappear prominently in the Symphony of Psalms; see Example 14 below.) Exa ...
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.