![La Monte Young`s The Well-Tuned Piano Kyle Gann Perspectives of](http://s1.studyres.com/store/data/013155568_1-92b716e210dbf214e2a8c9db25bb5a5b-300x300.png)
La Monte Young`s The Well-Tuned Piano Kyle Gann Perspectives of
... on Eb as 111, a choice that evolved from Young's saxophone improvisations. His favorite scale for improvising was G Dorian, in which he developed extended material on the subdominant seventh chord on C concert Eb-and that material grew into the tuning of the WTI! The term "tonic," however, will not ...
... on Eb as 111, a choice that evolved from Young's saxophone improvisations. His favorite scale for improvising was G Dorian, in which he developed extended material on the subdominant seventh chord on C concert Eb-and that material grew into the tuning of the WTI! The term "tonic," however, will not ...
Hindustani -Location: North Indian countries like Pakistan, Nepal
... equivalent of harmony in Western music.[41] Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely instrumental in nature, while musical-dramatic recitals refer to Harikatha.[40] But irrespective of what type of recital it is, what is featured are compositions ...
... equivalent of harmony in Western music.[41] Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely instrumental in nature, while musical-dramatic recitals refer to Harikatha.[40] But irrespective of what type of recital it is, what is featured are compositions ...
A Brief Guide To The Modern Orchestra: Instrumentation
... scheme of music and it's history, the establishment of the western orchestral ensemble can be considered modern in itself. Some assembly of the orchestra can be found during the sixteenth century where parts were scored for multiple instruments and divided up (usually the string choir) yet specific ...
... scheme of music and it's history, the establishment of the western orchestral ensemble can be considered modern in itself. Some assembly of the orchestra can be found during the sixteenth century where parts were scored for multiple instruments and divided up (usually the string choir) yet specific ...
89 MUSICAL LITERACY: A HISTORICAL PERSPECTIVE Prof. Dr
... perceive this passage as a single unit. The lack of repetition in the next four bars suggests that the player would perceptually and cognitively group in two-bar units, bars 9-10 (aided by the melodic sequence in these bars) and 11-12. These three groups, from the pickup to bar 5 through bar 12, def ...
... perceive this passage as a single unit. The lack of repetition in the next four bars suggests that the player would perceptually and cognitively group in two-bar units, bars 9-10 (aided by the melodic sequence in these bars) and 11-12. These three groups, from the pickup to bar 5 through bar 12, def ...
Electric Counterpoint PowerPoint
... Apart from dynamics and a pause sign on the last note, there are no other performing directions. Reich lets his performer interpret how the music should be played (almost like Baroque composers). ...
... Apart from dynamics and a pause sign on the last note, there are no other performing directions. Reich lets his performer interpret how the music should be played (almost like Baroque composers). ...
Chords, Keys, and Scales - What are they, and
... of a key is to think of a scale. In the key of C major, for instance, the scale notes are C D E F G A B C. If a song is written in C (major), we can expect it to use mostly those notes, and when we get to C it will feel like returning home. Pieces in a particular key usually – though not always – en ...
... of a key is to think of a scale. In the key of C major, for instance, the scale notes are C D E F G A B C. If a song is written in C (major), we can expect it to use mostly those notes, and when we get to C it will feel like returning home. Pieces in a particular key usually – though not always – en ...
`Modality` and other short articles for EPMOW
... basis for improvisation; [3] any progression of at least three chords, often more, recurring consecutively several times during performance of the same number (see TURNAROUND in Tagg’s Harmony Handout). Colloquial examples of usage: (i) ‘the La bamba changes go one, four, five’; (ii) ‘which changes ...
... basis for improvisation; [3] any progression of at least three chords, often more, recurring consecutively several times during performance of the same number (see TURNAROUND in Tagg’s Harmony Handout). Colloquial examples of usage: (i) ‘the La bamba changes go one, four, five’; (ii) ‘which changes ...
NGFL_Shost_movt_4_analysis
... THEMES: Theme a is heard in the lower 3 parts. In bar 10, this motif is transposed up a tritone. The melodic motif is continued with the chords, and now becomes part of the theme, not just an answering phrase. At bar 21, the A# in violin 1 finally moves. This feels like another reference to the Dies ...
... THEMES: Theme a is heard in the lower 3 parts. In bar 10, this motif is transposed up a tritone. The melodic motif is continued with the chords, and now becomes part of the theme, not just an answering phrase. At bar 21, the A# in violin 1 finally moves. This feels like another reference to the Dies ...
Tuning and Temperament
... The bad news is that we have mistuned all the musical intervals to some extent and in particular, all the major thirds are 14% of a semitone sharp and all minor thirds are 16% flat. These intervals are so far out of tune that the beat rates are high enough to be inaudible. Perfect fourths are 2% sha ...
... The bad news is that we have mistuned all the musical intervals to some extent and in particular, all the major thirds are 14% of a semitone sharp and all minor thirds are 16% flat. These intervals are so far out of tune that the beat rates are high enough to be inaudible. Perfect fourths are 2% sha ...
`frequency`. - Programma LLP
... Various composers have used the Fibonacci numbers when composing music, for instance Debussy, Schubert, Bach, but Bartòk in particular, who used this Series when forming the chords or a scale. The most typical chord is shaped on the projection 8:5:3, where these numbers are referred to the number o ...
... Various composers have used the Fibonacci numbers when composing music, for instance Debussy, Schubert, Bach, but Bartòk in particular, who used this Series when forming the chords or a scale. The most typical chord is shaped on the projection 8:5:3, where these numbers are referred to the number o ...
MSP_lecture3
... Construct as a geometric series - successive multiplication by 1.5 How many intervals to create – e.g., how to divide up the octave? Answer = 12 and still holds true today (for western music anyway) Interesting that we don’t use his system anymore but standardized on 12 ...
... Construct as a geometric series - successive multiplication by 1.5 How many intervals to create – e.g., how to divide up the octave? Answer = 12 and still holds true today (for western music anyway) Interesting that we don’t use his system anymore but standardized on 12 ...
Slide 1
... an example of mapping, the line "([C2:1],[C2:1],[C2:1],[C2:1])(staccato, tenuto)" under mapping will turn into "([C2:1] staccato,[C2:1] tenuto,[C2:1] staccato,[C2:1] tenuto)". This loops over all of the items in the first list and appends it to the corresponding item in the second list. If either li ...
... an example of mapping, the line "([C2:1],[C2:1],[C2:1],[C2:1])(staccato, tenuto)" under mapping will turn into "([C2:1] staccato,[C2:1] tenuto,[C2:1] staccato,[C2:1] tenuto)". This loops over all of the items in the first list and appends it to the corresponding item in the second list. If either li ...
The Functional Tonal Musical System and its Mathematical
... The functional tonal system (as it was affirmed many times and was confirmed not only by composer’s practice but also by numerous scholars’ opinions) has as a basis the concept/idea of chord. In a traditional tonal conception (but also in the modal-renaissance arena) the chord is a sound formed of a ...
... The functional tonal system (as it was affirmed many times and was confirmed not only by composer’s practice but also by numerous scholars’ opinions) has as a basis the concept/idea of chord. In a traditional tonal conception (but also in the modal-renaissance arena) the chord is a sound formed of a ...
Modulation I: Diatonic common chords
... Can take place between keys that are close, foreign or relative. Uses a diatonic chord (or chords) that is (are) common to the two keys and pivots from one key to the next on that chord (surprisingly enough, the common chord is also called a pivot chord). Has a smooth effect as one key transitions t ...
... Can take place between keys that are close, foreign or relative. Uses a diatonic chord (or chords) that is (are) common to the two keys and pivots from one key to the next on that chord (surprisingly enough, the common chord is also called a pivot chord). Has a smooth effect as one key transitions t ...
4/4 TIME - Introduction to Music Theory
... If the note to be dotted is on a space, the dot also goes on the space, while if the note is on a line, the dot goes on the space above (this also goes for notes on ledger lines). The dots on dotted notes, which are located to the right of the note, are not to be confused with the dots which indicat ...
... If the note to be dotted is on a space, the dot also goes on the space, while if the note is on a line, the dot goes on the space above (this also goes for notes on ledger lines). The dots on dotted notes, which are located to the right of the note, are not to be confused with the dots which indicat ...
Handout on Set Theory: Intervals and Atonality
... made up of two things: first the number of lines or spaces separating the two pitches (a unison if they’re on the same line, a second[!] if they are one line or space apart, a third if two, and so on). and then based on the quality of sound (major, minor, diminished, augmented). We call an interval ...
... made up of two things: first the number of lines or spaces separating the two pitches (a unison if they’re on the same line, a second[!] if they are one line or space apart, a third if two, and so on). and then based on the quality of sound (major, minor, diminished, augmented). We call an interval ...
Music Center
... A particular sacred song-style which evolved in African American urban settings during the second decade of the 20th century. It is sometimes called the sacred counterpart of the city blues. It is usually sung with piano, guitar or instrumental ensemble ...
... A particular sacred song-style which evolved in African American urban settings during the second decade of the 20th century. It is sometimes called the sacred counterpart of the city blues. It is usually sung with piano, guitar or instrumental ensemble ...
HOLY CROSS HIGH SCHOOL CHORAL 90, 10, 20, 30 MUSICAL
... Trill: An operatic "trick" used mostly, but not exclusively, by sopranos. A trill consists of a rapid alternation between two notes, usually a half step or a step apart. Vibrato: The steady pulsation of the voice that is heard of a sustained note. The pulsation is caused by a slight fluctuation in p ...
... Trill: An operatic "trick" used mostly, but not exclusively, by sopranos. A trill consists of a rapid alternation between two notes, usually a half step or a step apart. Vibrato: The steady pulsation of the voice that is heard of a sustained note. The pulsation is caused by a slight fluctuation in p ...
Unit 1 – Fundamentals of Music
... For example: when a violinist plays an A string – the string vibrates back and forth 440 times per second, or 440 Hertz (Hz) The higher the frequency, the higher the pitch – and the shorter the wavelength ...
... For example: when a violinist plays an A string – the string vibrates back and forth 440 times per second, or 440 Hertz (Hz) The higher the frequency, the higher the pitch – and the shorter the wavelength ...
History of Music Notation
... • Notation had developed far enough to notate melody, but there was still no system for notating rhythm. A mid-13th-century treatise, De Mensurabili Musica, explains a set of six rhythmic modes that were in use at the time, although it is not clear how they were formed. These rhythmic modes were all ...
... • Notation had developed far enough to notate melody, but there was still no system for notating rhythm. A mid-13th-century treatise, De Mensurabili Musica, explains a set of six rhythmic modes that were in use at the time, although it is not clear how they were formed. These rhythmic modes were all ...
PITCH AND PITCH CLASS - Mr. Deininger`s Page
... Pitch Classes and Pitches Tones 8 letter names apart make an octave. Example: C D E F G A B C What is pitch? Dictionary Definition: the quality of sound governed by the rate of vibrations producing it; the degree or highness or lowness of a tone Book Definition: a tone sounding in a particular octa ...
... Pitch Classes and Pitches Tones 8 letter names apart make an octave. Example: C D E F G A B C What is pitch? Dictionary Definition: the quality of sound governed by the rate of vibrations producing it; the degree or highness or lowness of a tone Book Definition: a tone sounding in a particular octa ...
“Something`s Coming” from West Side Story
... 1. How does Bernstein create a sense of excitement and expectancy in the song? 2. Mention two techniques or devices that the composer uses in this song and throughout the musical itself? 3. Describe the harmony used in the song. 4. What is a ‘push’ rhythm and give an example? 5. What is a ‘blue’ not ...
... 1. How does Bernstein create a sense of excitement and expectancy in the song? 2. Mention two techniques or devices that the composer uses in this song and throughout the musical itself? 3. Describe the harmony used in the song. 4. What is a ‘push’ rhythm and give an example? 5. What is a ‘blue’ not ...
LISTENING GUIDE
... seem to feel the need for any more. The choice of instruments adds to the bright and extroverted effect of the music. Trumpets and horns are designed for outdoor use. There is also a full complement of stringed instruments (two groups of violins, and violas, cellos, and double basses). A harpsichord ...
... seem to feel the need for any more. The choice of instruments adds to the bright and extroverted effect of the music. Trumpets and horns are designed for outdoor use. There is also a full complement of stringed instruments (two groups of violins, and violas, cellos, and double basses). A harpsichord ...
"Tonal Organization in Schoenberg`s Six Little Piano Pieces, Op. 19"
... B F sharp A (Ex. 8a), to which a quartal triad, G C F, is then added (Ex. 8b). The first sonority may be understood in C as comprising the root (B), fifth (F sharp), and seventh (A) of a third-less leading-tone ninth chord with raised fifth, whose ninth (C) enters as part of the quartal triad (Ex. 8 ...
... B F sharp A (Ex. 8a), to which a quartal triad, G C F, is then added (Ex. 8b). The first sonority may be understood in C as comprising the root (B), fifth (F sharp), and seventh (A) of a third-less leading-tone ninth chord with raised fifth, whose ninth (C) enters as part of the quartal triad (Ex. 8 ...
File - Matt Schroeder
... performed there has been a deceptive cadence about halfway through. An orchestral interlude leads into a new section full of sequencing and imitation, which ends suddenly with a perfect authentic cadence. ...
... performed there has been a deceptive cadence about halfway through. An orchestral interlude leads into a new section full of sequencing and imitation, which ends suddenly with a perfect authentic cadence. ...
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.