![Baroque PP](http://s1.studyres.com/store/data/008639089_1-8af961d01a03d047e833ef9063c17026-300x300.png)
Baroque PP
... demonstrated his ability of storytelling using dramatic melodies or chords to represent different events of life. Example of this style include: The Passion of St. John (1723) Magnificant (1723) The Passion According to St. Matthew (1729) Christmas Oratoro (1734) Bach composed many pieces of music a ...
... demonstrated his ability of storytelling using dramatic melodies or chords to represent different events of life. Example of this style include: The Passion of St. John (1723) Magnificant (1723) The Passion According to St. Matthew (1729) Christmas Oratoro (1734) Bach composed many pieces of music a ...
`The Minóre Dhrómos [Popular Mode] in the Songs of Vasilis
... It is very rare to find a song based totally on one of the two Minóres, without utilizing elements from the other. For instance, it is very common for laikó songs to use the upper tetrachord as it is used in the Minóre Natural, that is, A // B flat // C // D΄ notes, but, on the other hand, use a C s ...
... It is very rare to find a song based totally on one of the two Minóres, without utilizing elements from the other. For instance, it is very common for laikó songs to use the upper tetrachord as it is used in the Minóre Natural, that is, A // B flat // C // D΄ notes, but, on the other hand, use a C s ...
The Overtone Series
... vibrations occur in sound waves that travel back and forth from end to end of the thing that is vibrating. At certain points, the sound waves intersect and at these points of intersection, new, faster rates of vibration occur. Each new rate of vibration produces a secondary, higherbut-softer pitch, ...
... vibrations occur in sound waves that travel back and forth from end to end of the thing that is vibrating. At certain points, the sound waves intersect and at these points of intersection, new, faster rates of vibration occur. Each new rate of vibration produces a secondary, higherbut-softer pitch, ...
The Octave - Bill Troxler
... The standard set by Acoustical Society of America System shows middle c as “C4”. Vocal Range The lowest male voice is called “basso profondo”. These rarest of vocalists sing into the first octave. An operatic soprano must be able to sing two octaves above middle C. That’s all way up to C6. Short Han ...
... The standard set by Acoustical Society of America System shows middle c as “C4”. Vocal Range The lowest male voice is called “basso profondo”. These rarest of vocalists sing into the first octave. An operatic soprano must be able to sing two octaves above middle C. That’s all way up to C6. Short Han ...
The Impressionist Period
... intervals of the ninth and higher; on the other hand he returned to the parallel fourth and fifth intervals of the medieval church modes. These technical features were fully developed in Debussy’s early orchestral work, Prelude to the Afternoon of a Faun (1894), based on a poem by Mallarmé. The exte ...
... intervals of the ninth and higher; on the other hand he returned to the parallel fourth and fifth intervals of the medieval church modes. These technical features were fully developed in Debussy’s early orchestral work, Prelude to the Afternoon of a Faun (1894), based on a poem by Mallarmé. The exte ...
First of all I want to explain that this workshop is a
... but now also exists models of lower quality in PVC or wood. It’s played upright, like the recorder, and its mouthpiece is just a slit at the end of the cane. There are various sizes, which vary the tuning, but keeping the relationship between holes, which gives pentatonic scales. By varying the posi ...
... but now also exists models of lower quality in PVC or wood. It’s played upright, like the recorder, and its mouthpiece is just a slit at the end of the cane. There are various sizes, which vary the tuning, but keeping the relationship between holes, which gives pentatonic scales. By varying the posi ...
43 CHAPTER 8, ORNAMENTATION Ornamentation is, in its most
... CHAPTER 8, ORNAMENTATION Ornamentation is, in its most basic form, a type of improvisation that the performer adds to on the music according to his or her taste. The matter of taste can vary extensively from performer to performer by virtue of his understanding of the character of the work being per ...
... CHAPTER 8, ORNAMENTATION Ornamentation is, in its most basic form, a type of improvisation that the performer adds to on the music according to his or her taste. The matter of taste can vary extensively from performer to performer by virtue of his understanding of the character of the work being per ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
... effect on tonal context of altering the scalar subdivisions within the prolonged chord’s constituent minor thirds, in terms of the placement of whole tone or semitone as the third’s upper or lower interval. Chapter 9 (“Prolongations of the Remaining Seventh Chords”) considers nondominant-functional ...
... effect on tonal context of altering the scalar subdivisions within the prolonged chord’s constituent minor thirds, in terms of the placement of whole tone or semitone as the third’s upper or lower interval. Chapter 9 (“Prolongations of the Remaining Seventh Chords”) considers nondominant-functional ...
MUS 1110 Elementary Harmony
... 1. Ability to use triads in both root position and first inversion, and even effect modulation in order to musically harmonize a given soprano or bass line in four parts 2. Ability to arrange a given chorale/hymn for a string orchestra 3. Ability to transcribe an ethnic children’s play song, and arr ...
... 1. Ability to use triads in both root position and first inversion, and even effect modulation in order to musically harmonize a given soprano or bass line in four parts 2. Ability to arrange a given chorale/hymn for a string orchestra 3. Ability to transcribe an ethnic children’s play song, and arr ...
MUS 1110: Elementary Harmony, Counterpoint, and Ethnic Music
... Guidelines for Ordering Ethnic Instruments on A Score Learning Outcomes i. Ability to use triads in both root position and first inversion, and even effect modulation in order to musically harmonize a given soprano or bass line in four parts ii. Ability to arrange a given chorale/hymn for a string o ...
... Guidelines for Ordering Ethnic Instruments on A Score Learning Outcomes i. Ability to use triads in both root position and first inversion, and even effect modulation in order to musically harmonize a given soprano or bass line in four parts ii. Ability to arrange a given chorale/hymn for a string o ...
Music 170 Homework problem set 6 (due Nov. 3) 1. Two pipes, both
... pitched one is 1/2 meter long, how long must the other (higher pitched) one be? 2. Three alpenhorns are tuned so that the second one is a perfect fifth above the first, and the third one is a perfect fifth above the second one. If the first one sounds at 100 Hz, at what frequency does the third, hig ...
... pitched one is 1/2 meter long, how long must the other (higher pitched) one be? 2. Three alpenhorns are tuned so that the second one is a perfect fifth above the first, and the third one is a perfect fifth above the second one. If the first one sounds at 100 Hz, at what frequency does the third, hig ...
Vol. 8 - Great Choral Classics - Causeway Performing Arts= The
... texture might be used to represent a bustling crowd, flowing water or a battle scene. It can effectively be used to build up tension and excitement. Through their interactions, the four vocal parts (soprano, alto, tenor and bass) build up the harmony and texture of the music together. Each part can ...
... texture might be used to represent a bustling crowd, flowing water or a battle scene. It can effectively be used to build up tension and excitement. Through their interactions, the four vocal parts (soprano, alto, tenor and bass) build up the harmony and texture of the music together. Each part can ...
Grunge Music In Bloom: Musical Analysis of Nirvana`s Hit
... Ken Stephenson states that "in rock, the mode of the piece depends on nothing but the tonic triad" (Stephenson, 2002). Since a BbM triad (with the third) appears when the guitar enters in the middle of the verse (bar 25), and the refrain's melody has an unfolded BbM triad, I see Bb major as the mode ...
... Ken Stephenson states that "in rock, the mode of the piece depends on nothing but the tonic triad" (Stephenson, 2002). Since a BbM triad (with the third) appears when the guitar enters in the middle of the verse (bar 25), and the refrain's melody has an unfolded BbM triad, I see Bb major as the mode ...
Non-Chord Tones
... by step in the same direction. • Neighboring tone (n)- Approached by step and left by step in the opposite direction. • Suspension (s)- Approached by same tone and left by a step down. • Retardation (r)- Approached by the same tone and left by a step up. ...
... by step in the same direction. • Neighboring tone (n)- Approached by step and left by step in the opposite direction. • Suspension (s)- Approached by same tone and left by a step down. • Retardation (r)- Approached by the same tone and left by a step up. ...
From Franz Liszt`s Late Piano Works to Analyze His
... three intervals to form chord structure to sound nervous and harsh so that few composers regard this as the primary chord to compose. In his late piano works, the augmented triad plays a very important role. For example, in Gray Clouds, the augmented triad was used to pursue the gloomy and horrible ...
... three intervals to form chord structure to sound nervous and harsh so that few composers regard this as the primary chord to compose. In his late piano works, the augmented triad plays a very important role. For example, in Gray Clouds, the augmented triad was used to pursue the gloomy and horrible ...
Presentation
... • timbre is why we can tell the difference between the same notes played on difference instruments ...
... • timbre is why we can tell the difference between the same notes played on difference instruments ...
Here are some important points about pitch: • Pitch is the “highness
... and distinct because we can recognize it and distinguish it from others. Let’s take a look at how some common scales are constructed. As we saw in our discussion of pitch, two neighboring notes can be either a half-step or a whole-step apart. The series of notes C D E F G A B C makes up a major scal ...
... and distinct because we can recognize it and distinguish it from others. Let’s take a look at how some common scales are constructed. As we saw in our discussion of pitch, two neighboring notes can be either a half-step or a whole-step apart. The series of notes C D E F G A B C makes up a major scal ...
An Exploraton of Baroque Music
... majesty of the piece. Basso continuo, which is a base part underlying a piece of concerted music, played on a keyboard instrument, while accompanied by strings, was also a major component of baroque pieces. Composers favored instruments such as the harpsichord and violin, especially in Germany and I ...
... majesty of the piece. Basso continuo, which is a base part underlying a piece of concerted music, played on a keyboard instrument, while accompanied by strings, was also a major component of baroque pieces. Composers favored instruments such as the harpsichord and violin, especially in Germany and I ...
8.6 Sample Performance Test Rubric
... The tone is characteristic in some registers, uncharacteristic in other registers, and is often any of the following: thin, shrill, weak, blatty, spread, or unfocused ...
... The tone is characteristic in some registers, uncharacteristic in other registers, and is often any of the following: thin, shrill, weak, blatty, spread, or unfocused ...
On the Slow Movement of Brahms`s F-Minor Clarinet Sonata
... factor that softens the sense of return in m. 49 is register: since each statement of the thirds-cycle brings the register successively lower, the clarinet’s melody in m. 49 is a full octave lower than its original presentation had been in the movement’s opening. This change of register, combined wi ...
... factor that softens the sense of return in m. 49 is register: since each statement of the thirds-cycle brings the register successively lower, the clarinet’s melody in m. 49 is a full octave lower than its original presentation had been in the movement’s opening. This change of register, combined wi ...
Funki - QuT – Exploring ChromatiCism through Composition
... Figure 1 Chromatic scale Chromatic scales are built on a set of intervals that are semi-tone apart (Figure 1). The approach to this composition is to maintain a set of chord progressions but create a melodic line that lie largely outside the associated chord scales. By creating a melody derived from ...
... Figure 1 Chromatic scale Chromatic scales are built on a set of intervals that are semi-tone apart (Figure 1). The approach to this composition is to maintain a set of chord progressions but create a melodic line that lie largely outside the associated chord scales. By creating a melody derived from ...
Gamelan - Musical Meanderings
... roughly equal segments, each a little larger than a tone. This cannot be accurately expressed in western notation. Pelog - Seven note scale that slendro is derived from Pelog is more complicated. There are seven pitches to the octave, but they are in unequal steps ranging from slightly less than a s ...
... roughly equal segments, each a little larger than a tone. This cannot be accurately expressed in western notation. Pelog - Seven note scale that slendro is derived from Pelog is more complicated. There are seven pitches to the octave, but they are in unequal steps ranging from slightly less than a s ...
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.