File - Oak Bay Band
... scale degrees. We call this “spelling a chord”. Triads can also be called chords and are used by composers to add musical interest accompanying a melody. In level IA Major triads were written in what is known as Root Position, when 1st scale degree is the bottom note of the triad ...
... scale degrees. We call this “spelling a chord”. Triads can also be called chords and are used by composers to add musical interest accompanying a melody. In level IA Major triads were written in what is known as Root Position, when 1st scale degree is the bottom note of the triad ...
Game Maker School:
... A sharp raises the pitch to that the pitch sounds like it is right between the sharp note and the note above. The two exceptions to this is an E sharp is actually an F and a B sharp is actually a C. The odd thing about accidentals is that they do this thing called “carrying throughout the measure.” ...
... A sharp raises the pitch to that the pitch sounds like it is right between the sharp note and the note above. The two exceptions to this is an E sharp is actually an F and a B sharp is actually a C. The odd thing about accidentals is that they do this thing called “carrying throughout the measure.” ...
"The Elements of Music"
... • Scale tones = the notes of a scale, identified as root, second, third, etc. • Consonance/dissonance = the balance of notes in a melody that create moments of relative tension and resolution. ...
... • Scale tones = the notes of a scale, identified as root, second, third, etc. • Consonance/dissonance = the balance of notes in a melody that create moments of relative tension and resolution. ...
kamienbrief6_ppt_par..
... Letter names for notes: A B C D E F G Staff Clef signs – Treble – Bass ...
... Letter names for notes: A B C D E F G Staff Clef signs – Treble – Bass ...
Effectiveness of your Initial Assessment
... The violin and clarinet generally carry the main melodic interest. The bassoon and horn usually work together to provide wind sonority harmony, although occasionally the bassoon works in a solo capacity in conjunction with the clarinet, bar 69-73. The viola generally accompanies with arpeggio figure ...
... The violin and clarinet generally carry the main melodic interest. The bassoon and horn usually work together to provide wind sonority harmony, although occasionally the bassoon works in a solo capacity in conjunction with the clarinet, bar 69-73. The viola generally accompanies with arpeggio figure ...
Organization of Musical Information
... Music Notation vs. Audio • Relationship between notation and its sound is very subtle • Not at all one symbol <=> one symbol – Notes w/ornaments (trills, etc.) are one => many – All symbols but notes are one => zero! – Bach F-major Toccata example ...
... Music Notation vs. Audio • Relationship between notation and its sound is very subtle • Not at all one symbol <=> one symbol – Notes w/ornaments (trills, etc.) are one => many – All symbols but notes are one => zero! – Bach F-major Toccata example ...
inventing western music notation, inventing western music
... century CE. When in the 9th century (or perhaps late in the 8th) the Christian West felt a need to notate its music, it was necessary to devise new notations. It is generally understood that the (re-) invention of musical notations in the 9th century was part of a larger concern with systematizing m ...
... century CE. When in the 9th century (or perhaps late in the 8th) the Christian West felt a need to notate its music, it was necessary to devise new notations. It is generally understood that the (re-) invention of musical notations in the 9th century was part of a larger concern with systematizing m ...
Establishing the Elements of Music Groundwork
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
Establishing the Elements of Music Groundwork
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
"Three Beats for Beatbox Flute" by Greg Patillo In 2011, the National
... In measure 13, the first movement begins to build in excitement. The piece continues to build until measure 28. This is achieved by a repetition of rhythm in conjunction with a continually rising pitch and volume. The rhythm clock shown in Figure 3 indicates the rhythm first appearing in the last b ...
... In measure 13, the first movement begins to build in excitement. The piece continues to build until measure 28. This is achieved by a repetition of rhythm in conjunction with a continually rising pitch and volume. The rhythm clock shown in Figure 3 indicates the rhythm first appearing in the last b ...
Introduction to the CAGED System,Part One
... playing D7 in place of a D major triad when performing in their favored key of G. D7 is one of the first three chords learned by students of the five-string banjo. Although there are other chords containing sevenths (see the Major and Minor Seventh chords, below), the dominant seventh chord is so ub ...
... playing D7 in place of a D major triad when performing in their favored key of G. D7 is one of the first three chords learned by students of the five-string banjo. Although there are other chords containing sevenths (see the Major and Minor Seventh chords, below), the dominant seventh chord is so ub ...
Middle School Band Curriculum 1
... Identify, write, and define the following: 3/4 time; multi-measure rests; Identify, write, and define the following: two 16th and 8th note key signature; order of flats and sharps in key signature; naturals; patterns including the dotted 8th-16th; 2 octave chromatic scale; staccato style and articul ...
... Identify, write, and define the following: 3/4 time; multi-measure rests; Identify, write, and define the following: two 16th and 8th note key signature; order of flats and sharps in key signature; naturals; patterns including the dotted 8th-16th; 2 octave chromatic scale; staccato style and articul ...
CDtext - Baroque Music.Org
... lifetime these works were favorably compared with those of Corelli and Vivaldi, and his nine collections published in Italy, Amsterdam and London were either dedicated to or sponsored by an impressive list of southern European nobility. Albinoni was particularly fond of the oboe, a relatively new in ...
... lifetime these works were favorably compared with those of Corelli and Vivaldi, and his nine collections published in Italy, Amsterdam and London were either dedicated to or sponsored by an impressive list of southern European nobility. Albinoni was particularly fond of the oboe, a relatively new in ...
Expanded Tonality in Quartal Space: Back to Debussy`s
... hidden in the piece pseudo or expanded tonal functions behind a colorful, exotic-sounding (since non-triadic) harmony, which will also guide our investigation. Fourth Circles At first glance or listening, the Étude quickly reveals the recurring pitch-class of F as a melodic or harmonic center. Howev ...
... hidden in the piece pseudo or expanded tonal functions behind a colorful, exotic-sounding (since non-triadic) harmony, which will also guide our investigation. Fourth Circles At first glance or listening, the Étude quickly reveals the recurring pitch-class of F as a melodic or harmonic center. Howev ...
Vocables: Easy Vocal Improvisation Activities
... and sing shared or neighboring pitches between all three chords. Let the students listen to a few repetitions of the three-chord progression. They should listen carefully so they can tell which chord is being played at any given time. It's best to encourage the students to do this "by ear", but if n ...
... and sing shared or neighboring pitches between all three chords. Let the students listen to a few repetitions of the three-chord progression. They should listen carefully so they can tell which chord is being played at any given time. It's best to encourage the students to do this "by ear", but if n ...
FLAUTI SENZA BASSO
... The remains of the first flutes date from earliest times. While always based on the principle of an edge that splits the stream of air blown by the player, the ancestors of the flutes that we know today had very diverse forms. They had mouthpieces in the form of a whistle, like the contemporary reco ...
... The remains of the first flutes date from earliest times. While always based on the principle of an edge that splits the stream of air blown by the player, the ancestors of the flutes that we know today had very diverse forms. They had mouthpieces in the form of a whistle, like the contemporary reco ...
Partita no. 4 in D: Sarabande and Gigue J.S. Bach
... signature was different to most Gigues. • There is almost continuous semiquaver movement in the Gigue. This is commonly in one part at a time, with longer note values elsewhere, but occasionally two parts have semiquavers simultaneously in the B section, notably near the end, where the increased rhy ...
... signature was different to most Gigues. • There is almost continuous semiquaver movement in the Gigue. This is commonly in one part at a time, with longer note values elsewhere, but occasionally two parts have semiquavers simultaneously in the B section, notably near the end, where the increased rhy ...
Public Understanding of Chemistry
... Figure 2. Two 18-note patterns starting from middle C arriving an octave apart. Top numbering indicates playing every note, bottom follows C major scale. Thus, the initial failing of the Law of Octaves to incorporate transition metals has a fairly simple musical solution. Using either an octave or t ...
... Figure 2. Two 18-note patterns starting from middle C arriving an octave apart. Top numbering indicates playing every note, bottom follows C major scale. Thus, the initial failing of the Law of Octaves to incorporate transition metals has a fairly simple musical solution. Using either an octave or t ...
Tone and Voice: A Derivation of the Rules of Voice
... None even if not parallel. 13. Exposed (or Hidden or Direct) Octaves (and Fifths) Rule. Bass and soprano voices should not approach octaves by similar motion between two parts unless at least one of the parts moves by diatonic step. ...
... None even if not parallel. 13. Exposed (or Hidden or Direct) Octaves (and Fifths) Rule. Bass and soprano voices should not approach octaves by similar motion between two parts unless at least one of the parts moves by diatonic step. ...
Music Study List
... bands) for the tuba (either size); (6) bass clef, clef indicating F below middle C as the top line but one of the staff (and so sometimes also called F clef); it is normally used for bass voice, for most lower pitched instruments, for the left-hand part of piano music, etc. Beethoven, Ludwig van (17 ...
... bands) for the tuba (either size); (6) bass clef, clef indicating F below middle C as the top line but one of the staff (and so sometimes also called F clef); it is normally used for bass voice, for most lower pitched instruments, for the left-hand part of piano music, etc. Beethoven, Ludwig van (17 ...
Octave - Philip Tagg
... as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch contour at the same time in parallel octaves. The octave’s property of ‘unison at another pitch’ is also illustrated by the fact that: (i) a common chord consis ...
... as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch contour at the same time in parallel octaves. The octave’s property of ‘unison at another pitch’ is also illustrated by the fact that: (i) a common chord consis ...
Music Notation Symbols
... This clef can be thought of as an alto or tenor clef. It can be movable. Middle c is determined where the middle of the picture is pointing to. In this case it is the third line and for that reason it is an alto clef. If it were pointing to the fourth line it would be a tenor clef. This clef is most ...
... This clef can be thought of as an alto or tenor clef. It can be movable. Middle c is determined where the middle of the picture is pointing to. In this case it is the third line and for that reason it is an alto clef. If it were pointing to the fourth line it would be a tenor clef. This clef is most ...
eVirtuoso-Online Lessons Chords Lesson 3
... Chords are commonly combined to create ascending and descending chord progressions. An ascending progression example is iii-IV-V (C#m-D-E), and a descending progression is I-vii-vi (A-G#dim-F#m). A standard Rock n’ Roll style song could use an ascending chord progression like this, I-IV-V (A, D, E). ...
... Chords are commonly combined to create ascending and descending chord progressions. An ascending progression example is iii-IV-V (C#m-D-E), and a descending progression is I-vii-vi (A-G#dim-F#m). A standard Rock n’ Roll style song could use an ascending chord progression like this, I-IV-V (A, D, E). ...
Woodwind instruments - Bellefonte Area School District
... been played in Europe since the 1300s. They were at their most popular in the 1600s and early 1700s. • Composers often wrote pieces for a consort of recorders—a group of recorders in all different sizes, ranging from soprano to bass. • Recorders played an important part in the music of baroque compo ...
... been played in Europe since the 1300s. They were at their most popular in the 1600s and early 1700s. • Composers often wrote pieces for a consort of recorders—a group of recorders in all different sizes, ranging from soprano to bass. • Recorders played an important part in the music of baroque compo ...
Harmonics - Homework References
... The intervals between the above notes in a harmonic series are as follows: perfect octave, perfect fifth, perfect fourth, major third, minor third, (flat) minor third, (sharp) major second, major second, major second, (flat) major second, (sharp) minor second **The – signs indicates a pitch is signi ...
... The intervals between the above notes in a harmonic series are as follows: perfect octave, perfect fifth, perfect fourth, major third, minor third, (flat) minor third, (sharp) major second, major second, major second, (flat) major second, (sharp) minor second **The – signs indicates a pitch is signi ...
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.