Night in Tunisia thoughts,
... the whole half as just a mode of the diminshed scale (which is symmetrical). There are only three unique dim scales for you to learn. (so no excuses). C7, Eb7, F#7, and A7 all share the same dim scale, it just starts at different points. That’s why the half/whole versus whole/half distinction isn’t ...
... the whole half as just a mode of the diminshed scale (which is symmetrical). There are only three unique dim scales for you to learn. (so no excuses). C7, Eb7, F#7, and A7 all share the same dim scale, it just starts at different points. That’s why the half/whole versus whole/half distinction isn’t ...
JJS WMLS Circular Thinking Proofs
... lacks the closure in A minor that Martin has shown in the head. For these reasons, and because of its clear 8-bar hypermeter, the introduction strongly favors D minor. The top staff of Example 3b shows Evans’ melody in half notes as well as the remaining pitches (most of them “tensions” that may be ...
... lacks the closure in A minor that Martin has shown in the head. For these reasons, and because of its clear 8-bar hypermeter, the introduction strongly favors D minor. The top staff of Example 3b shows Evans’ melody in half notes as well as the remaining pitches (most of them “tensions” that may be ...
CONTENTS
... that is slightly easier so that they can demonstrate their musical skills rather than their musical inadequacies. In some cases the programmes were short and did not conform to the syllabus requirements, that performance time should not be less than five minutes. While length has no merit in itself, ...
... that is slightly easier so that they can demonstrate their musical skills rather than their musical inadequacies. In some cases the programmes were short and did not conform to the syllabus requirements, that performance time should not be less than five minutes. While length has no merit in itself, ...
Twelve-tone Serialism: Exploring the Works of Anton Webern
... From there, he can place the notes of whatever form he chooses first in any instruments or staves that he chooses, as long as horizontally, the notes are still in the dictated order. For example, the row I have highlighted in the following figure spans both staves of the piano but the notes are stil ...
... From there, he can place the notes of whatever form he chooses first in any instruments or staves that he chooses, as long as horizontally, the notes are still in the dictated order. For example, the row I have highlighted in the following figure spans both staves of the piano but the notes are stil ...
Vocal Solos and Ensembles
... Simple polyphony and/or mostly homophonic and/or homorhythmic; some divisi. ...
... Simple polyphony and/or mostly homophonic and/or homorhythmic; some divisi. ...
Twelve-tone Serialism: Exploring the Works of Anton Webern
... From there, he can place the notes of whatever form he chooses first in any instruments or staves that he chooses, as long as horizontally, the notes are still in the dictated order. For example, the row I have highlighted in the following figure spans both staves of the piano but the notes are stil ...
... From there, he can place the notes of whatever form he chooses first in any instruments or staves that he chooses, as long as horizontally, the notes are still in the dictated order. For example, the row I have highlighted in the following figure spans both staves of the piano but the notes are stil ...
Jeffrey Perry
... m. 30 after a crescendo to an authentic cadence on the tonic triad, A-flat minor, which for the first time spans both treble and bass registers-the top voice is on A~5, which with the cadential progression B~5-C~5-B~5-G~5 that precedes it in mm. 28-29, represents the only high treble-register pitch ...
... m. 30 after a crescendo to an authentic cadence on the tonic triad, A-flat minor, which for the first time spans both treble and bass registers-the top voice is on A~5, which with the cadential progression B~5-C~5-B~5-G~5 that precedes it in mm. 28-29, represents the only high treble-register pitch ...
HERE - davenantperformingarts
... octave each time. The first two notes are then repeated as part of a triplet. When the melody is repeated at bar 5, the harmonies change subtly, with the addition of a flat seventh A [natural] above the bass B. Then at bar 7 there is an undulating scalic countermelody in the middle of the texture, r ...
... octave each time. The first two notes are then repeated as part of a triplet. When the melody is repeated at bar 5, the harmonies change subtly, with the addition of a flat seventh A [natural] above the bass B. Then at bar 7 there is an undulating scalic countermelody in the middle of the texture, r ...
Real-time Melodic Accompaniment System for Indian Music Using
... taals (rhythmic accompaniment) is available since it is predecided before a particular vocal performance. Some accompaniment systems such as MySong® [1] and LaDida® [2] can create accompanied music but they do not operate in real time but rather add only chords and beats after recording the music. T ...
... taals (rhythmic accompaniment) is available since it is predecided before a particular vocal performance. Some accompaniment systems such as MySong® [1] and LaDida® [2] can create accompanied music but they do not operate in real time but rather add only chords and beats after recording the music. T ...
Non-Traditional Notation And Techniques In Student Piano Repertoire
... Both the thirds and the clusters move stepwise symmetrically with the thumbs meeting on middle C. The two single pitches, on the highest and lowest keys of the keyboard, alternate throughout the piece and provide an excellent exercise in huge leaps. Seashore includes fivenote clusters on white keys ...
... Both the thirds and the clusters move stepwise symmetrically with the thumbs meeting on middle C. The two single pitches, on the highest and lowest keys of the keyboard, alternate throughout the piece and provide an excellent exercise in huge leaps. Seashore includes fivenote clusters on white keys ...
A Graphical Model for Chord Progressions Embedded in a Psychoacoustic Space
... meter to guide the construction of probabilistic trees, employing a binary tree structure suggested by the meter of the jazz standards in our database. Though this tree structure differs from that of other forms of music (thus representing a built-in stylistic prior motivated by music theory) the di ...
... meter to guide the construction of probabilistic trees, employing a binary tree structure suggested by the meter of the jazz standards in our database. Though this tree structure differs from that of other forms of music (thus representing a built-in stylistic prior motivated by music theory) the di ...
File - Eric Matthews` Efolio
... Around the 1590s, most English composers composed madrigals. These madrigals were like the Italian madrigals, except simpler and in English text. These were the most popular pieces of music for the English at this time. They also composed consort songs that were exclusive to England. These songs wer ...
... Around the 1590s, most English composers composed madrigals. These madrigals were like the Italian madrigals, except simpler and in English text. These were the most popular pieces of music for the English at this time. They also composed consort songs that were exclusive to England. These songs wer ...
Lewin, David “A Formal Theory of Generalized Tonal Functions”
... relation between chords instead of just naming chords in relation to a tonic. And they want to be able to do so even in musical situations, where the operating tonic may be distant or temporarily shut down. In this theory the central issue is the transformation-operation that makes one chord become ...
... relation between chords instead of just naming chords in relation to a tonic. And they want to be able to do so even in musical situations, where the operating tonic may be distant or temporarily shut down. In this theory the central issue is the transformation-operation that makes one chord become ...
Musical Elements - Fleming County Schools
... This work was originally submitted in 1938 to the NBC Radio Orchestra, which was conducted by a legendary Italian named Arturo Toscanini, a man noted for openly scorning American composers. The music was returned to Barber several weeks later with no notes, so Barber thought it had been rejected. In ...
... This work was originally submitted in 1938 to the NBC Radio Orchestra, which was conducted by a legendary Italian named Arturo Toscanini, a man noted for openly scorning American composers. The music was returned to Barber several weeks later with no notes, so Barber thought it had been rejected. In ...
Chapter 2 Rhythm
... Tempo is the term for the speed of the beats (again, not the notes) ►Indicated by a general term, usually a word in Italian ►Can also be indicated by a metronome marking the number ...
... Tempo is the term for the speed of the beats (again, not the notes) ►Indicated by a general term, usually a word in Italian ►Can also be indicated by a metronome marking the number ...
Thomas A - Music at Thomas Edison
... The simplest musical texture is monophonic (one voice) texture one line of music standing alone. A flute solo or a person singing alone or both represents monophonic texture. Another kind of musical texture is homophonic same voice texture. There are two varieties of homophonic texture – block chord ...
... The simplest musical texture is monophonic (one voice) texture one line of music standing alone. A flute solo or a person singing alone or both represents monophonic texture. Another kind of musical texture is homophonic same voice texture. There are two varieties of homophonic texture – block chord ...
a geometric model for the analysis of pop music
... See Louis Bigo, Moreno Andreatta, Jean-Louis Giavitto, Olivier Michel and Antoine Spicher, “Computation and Visualization of Musical Structures in Chord-based Simplicial Complexes,” in J. Yust, J. Wild and J.A. Burgoyne (eds.), Mathematics and Computation in Music: Proceedings of the 4th Internation ...
... See Louis Bigo, Moreno Andreatta, Jean-Louis Giavitto, Olivier Michel and Antoine Spicher, “Computation and Visualization of Musical Structures in Chord-based Simplicial Complexes,” in J. Yust, J. Wild and J.A. Burgoyne (eds.), Mathematics and Computation in Music: Proceedings of the 4th Internation ...
THE BAROQUE ERA - Owen J. Roberts High School Band
... Thus began the OPERA – the single greatest achievement of Baroque Music! ...
... Thus began the OPERA – the single greatest achievement of Baroque Music! ...
File
... 6f - compare and contrast chord sequence and tonal structure (major, minor, I, V) 6g - distinguish between the sound of bands and orchestras 6h - aurally distinguish between soprano, alto, tenor, and bass voices 6i - analyze the ways musical elements, such as melody, harmony, rhythm, form, timbre, e ...
... 6f - compare and contrast chord sequence and tonal structure (major, minor, I, V) 6g - distinguish between the sound of bands and orchestras 6h - aurally distinguish between soprano, alto, tenor, and bass voices 6i - analyze the ways musical elements, such as melody, harmony, rhythm, form, timbre, e ...
Summary of Skills
... Awareness of the Use of elementary layout of a piece, any musical terms (e.g. repetitions, including forte and piano) ...
... Awareness of the Use of elementary layout of a piece, any musical terms (e.g. repetitions, including forte and piano) ...
10:5 class notes
... segments 4 + 6 reproduce motifs 6 + 7 in reverse order. (not retrograde) 2) segments 2 and 4 connect over an augmented second, which is the inversion of the diminished seventh at the end of motif 1, surely the most characteristic interval in the theme. 3) the content of segments 2 (G + F♯) and 4 (E♭ ...
... segments 4 + 6 reproduce motifs 6 + 7 in reverse order. (not retrograde) 2) segments 2 and 4 connect over an augmented second, which is the inversion of the diminished seventh at the end of motif 1, surely the most characteristic interval in the theme. 3) the content of segments 2 (G + F♯) and 4 (E♭ ...
The Syntax of Music
... prototypicality of chord progressions. – Cuddy et al. 1981: melodic sequences that imply prototypical chord sequences are be^er remembered. – Trainor & Trehub 1994: musically unselected adults are more sensi
... prototypicality of chord progressions. – Cuddy et al. 1981: melodic sequences that imply prototypical chord sequences are be^er remembered. – Trainor & Trehub 1994: musically unselected adults are more sensi
Document
... □ Inversion of Dominant Seventh Chords (Handout) □ Inversion of Triads and Seventh Chords Additional Practice (Handout) ...
... □ Inversion of Dominant Seventh Chords (Handout) □ Inversion of Triads and Seventh Chords Additional Practice (Handout) ...
here - Springburn Academy
... Baroque – Music written between 1600–1750 approximately. Bach and Handel were two of the composers from this period. (For an extended definition, see Basso continuo, Concerto grosso, Ritornello, Polyphony.) ...
... Baroque – Music written between 1600–1750 approximately. Bach and Handel were two of the composers from this period. (For an extended definition, see Basso continuo, Concerto grosso, Ritornello, Polyphony.) ...
Kris Curtis
... tied to the tonal organization. The tonal organization comes from the Baroque concerto except for the “development” section that incorporates several modulations. Occasionally there are times when composers will expand on the above form and add an additional ritornello section just before the solo s ...
... tied to the tonal organization. The tonal organization comes from the Baroque concerto except for the “development” section that incorporates several modulations. Occasionally there are times when composers will expand on the above form and add an additional ritornello section just before the solo s ...
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.