![File](http://s1.studyres.com/store/data/008089611_1-6daf6bc08f77218570e3942b554dac70-300x300.png)
File
... Definition: The distance between two pitches Example: A major third is an example of an interval. ...
... Definition: The distance between two pitches Example: A major third is an example of an interval. ...
Document
... Siegel, J. A., & Siegel, W. (1977). Absolute identification of notes and intervals by musicians. Perception & Psychophysics, 21 (2), 143-152. ...
... Siegel, J. A., & Siegel, W. (1977). Absolute identification of notes and intervals by musicians. Perception & Psychophysics, 21 (2), 143-152. ...
Recorder Miscellany
... Traditionally the Recorder has not been treated as a transposing instrument, this is because historically all players were expected to use the same score and be freely able to switch from one size of instrument to another (without transposed scores being required). This tradition has continued with ...
... Traditionally the Recorder has not been treated as a transposing instrument, this is because historically all players were expected to use the same score and be freely able to switch from one size of instrument to another (without transposed scores being required). This tradition has continued with ...
Exploration 3
... I consider this sonority quartal rather than tertial, with all pitches generated by pursuing a circle-of-fifths progression beginning on A: A, E, B, F-sharp (C-sharp, not present),Gsharp. Stravinsky then arranges these pitches vertically, most often with the placement of the generating pitch—in thi ...
... I consider this sonority quartal rather than tertial, with all pitches generated by pursuing a circle-of-fifths progression beginning on A: A, E, B, F-sharp (C-sharp, not present),Gsharp. Stravinsky then arranges these pitches vertically, most often with the placement of the generating pitch—in thi ...
WORLD OF THE STRING QUARTET Glossary
... Appoggiatura – A note of embellishment usually one step or half-step above (but sometimes below) the “main” note.~ Aria – a term signifying any closed lyrical piece for solo voice with or without accompaniment, either independent or forming part of an opera, oratorio, cantata, or other large work. I ...
... Appoggiatura – A note of embellishment usually one step or half-step above (but sometimes below) the “main” note.~ Aria – a term signifying any closed lyrical piece for solo voice with or without accompaniment, either independent or forming part of an opera, oratorio, cantata, or other large work. I ...
playing giant steps with one scale
... semitones, minor 3rds, major 3rds, perfect 4ths, perfect 5ths, 6ths and major 7ths. The best results from this scale are obtained by being aware of where these different intervals are located so you can combine them fluently. ...
... semitones, minor 3rds, major 3rds, perfect 4ths, perfect 5ths, 6ths and major 7ths. The best results from this scale are obtained by being aware of where these different intervals are located so you can combine them fluently. ...
Characterisation of composer style using high
... ‘Other’ category are much lower than for the more contrapuntally independent compositions of the other composers. A quick glance at the scores of, for example, Monteverdi and Corelli, validates this result, showing that there are many sections where one or more voices are resting for a number of bar ...
... ‘Other’ category are much lower than for the more contrapuntally independent compositions of the other composers. A quick glance at the scores of, for example, Monteverdi and Corelli, validates this result, showing that there are many sections where one or more voices are resting for a number of bar ...
On Interpreting Bach - Engineering Class s
... Assumptions: Rule of Congruence • Musical comprehension is “progressive” (i.e., ideas become more definite as events proceed) ...
... Assumptions: Rule of Congruence • Musical comprehension is “progressive” (i.e., ideas become more definite as events proceed) ...
Music Composition
... Emulation of styles of composers It searches for patterns (aka signatures) in different works of a composer It takes these signatures and inserts motives between signatures These are determined by analyzing the directions and repeated notes in the composer’s other works Insertion is done u ...
... Emulation of styles of composers It searches for patterns (aka signatures) in different works of a composer It takes these signatures and inserts motives between signatures These are determined by analyzing the directions and repeated notes in the composer’s other works Insertion is done u ...
The Mathematics of Music
... Overtone- any frequency higher than the fundamental frequency The fundamental together with the other frequencies are called partials Overtones can be harmonic or inharmonic Inharmonic overtones- partials that have frequencies not in proportion to the fundamental frequency How does this work ...
... Overtone- any frequency higher than the fundamental frequency The fundamental together with the other frequencies are called partials Overtones can be harmonic or inharmonic Inharmonic overtones- partials that have frequencies not in proportion to the fundamental frequency How does this work ...
Sample Tests Answer Key
... c. Third section recapitulation 3. In the first section: a. The first theme begins in the key of G Major. b. The second theme begins in measure 11 and is in the key of D Major. c. Is this a modulation? yes 4. Measures 30 – 37 are related to the X first theme ___ second theme. 5. Which term best desc ...
... c. Third section recapitulation 3. In the first section: a. The first theme begins in the key of G Major. b. The second theme begins in measure 11 and is in the key of D Major. c. Is this a modulation? yes 4. Measures 30 – 37 are related to the X first theme ___ second theme. 5. Which term best desc ...
- MusicTeachers.co.uk
... Maurice Emmanuel to have said around 1889-90 that 'music is neither major nor minor', something evident in the 'Sarabande' from Pour le piano. Here, despite having a key signature of four sharps, the music never settles comfortably in E major or c-sharp minor, with many more keys suggested than actu ...
... Maurice Emmanuel to have said around 1889-90 that 'music is neither major nor minor', something evident in the 'Sarabande' from Pour le piano. Here, despite having a key signature of four sharps, the music never settles comfortably in E major or c-sharp minor, with many more keys suggested than actu ...
Tonal Harmony Introduction
... HARMONIC PARTIALS (“overtones”) are the spectra of naturally occurring Hz’s at integer multiples above a fundamental Hz. ...
... HARMONIC PARTIALS (“overtones”) are the spectra of naturally occurring Hz’s at integer multiples above a fundamental Hz. ...
View printable PDF of 6.3 Analyzing Diatonic Modes
... Common practice period tonality (about 1600-1910) uses melodic formulas like Mi-Re-Do and cadential progressions like V-I, ii-V-I, etc. to establish the tonic as the tonal center. Many pitch-centric pieces written after 1900ish establish a tonal center without these melodic and harmonic formulas, ma ...
... Common practice period tonality (about 1600-1910) uses melodic formulas like Mi-Re-Do and cadential progressions like V-I, ii-V-I, etc. to establish the tonic as the tonal center. Many pitch-centric pieces written after 1900ish establish a tonal center without these melodic and harmonic formulas, ma ...
Music K-8 - Aspen Academy
... Hansel and Gretel – Humperdinck The Sorcerer’s Apprentice- Dukas The Nutcracker- Tchaikovsky ...
... Hansel and Gretel – Humperdinck The Sorcerer’s Apprentice- Dukas The Nutcracker- Tchaikovsky ...
Course Description - W. David
... intervals or chords that ends a phrase section, or piece of music. Cadences give phrases a distinctive ending, that can, for example, indicate to the listener whether the piece is to be continued or concluded. ...
... intervals or chords that ends a phrase section, or piece of music. Cadences give phrases a distinctive ending, that can, for example, indicate to the listener whether the piece is to be continued or concluded. ...
20th Century Music National 5
... 4 (a) What is meant by the term ‘reverb?’ _____________________________ ______________________________________________________________ ______________________________________________________________ (b) State the names of two instruments which can perform with reverb during a live performance (i.e. n ...
... 4 (a) What is meant by the term ‘reverb?’ _____________________________ ______________________________________________________________ ______________________________________________________________ (b) State the names of two instruments which can perform with reverb during a live performance (i.e. n ...
My analysis and thoughts on Gershwin – An American in Paris
... he is using a V – I progression to establish key as common practice composers often did, he involves major 7ths and dominant 9ths to create a harmonic atmosphere that sounds very contemporary. I thought it was interesting that each of the roles (melody, countermelody, accompaniment) included some ki ...
... he is using a V – I progression to establish key as common practice composers often did, he involves major 7ths and dominant 9ths to create a harmonic atmosphere that sounds very contemporary. I thought it was interesting that each of the roles (melody, countermelody, accompaniment) included some ki ...
Baroque music performance: “authentic” or “traditional”
... tinkling in the background. Thus when the counterpoint moves from violin to harpsichord it is all but lost. The same applies with the sonatas for flute - or viola and harpsichord. In choral music too, balance is often inappropriate musically, when for example the choir is given prominence over the i ...
... tinkling in the background. Thus when the counterpoint moves from violin to harpsichord it is all but lost. The same applies with the sonatas for flute - or viola and harpsichord. In choral music too, balance is often inappropriate musically, when for example the choir is given prominence over the i ...
Sound Waves Resonance, Frequency and the Musical Scale
... A doubling of the frequency of any note produces a higher note with the same pitch, as in middle C and high C on a piano. This is known as an Octave. Octaves go on forever above and below our musical scale, they are simply halving's or doublings of frequency. ...
... A doubling of the frequency of any note produces a higher note with the same pitch, as in middle C and high C on a piano. This is known as an Octave. Octaves go on forever above and below our musical scale, they are simply halving's or doublings of frequency. ...
Tonal Harmony Chapter 23 Enharmonic Spellings and Enharmonic
... because it is the cadential six-four chord in m.42 not the V7/IV = Ger+6, that tells us that a modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterprete ...
... because it is the cadential six-four chord in m.42 not the V7/IV = Ger+6, that tells us that a modulation is taking place. REMEMBER to always look for the common chord by backing up one chord from the chord that signals the modulation Any V7 chord or secondary V7 in the first key can be reinterprete ...
Tier 3 unit 1 power point
... This is a BASS CLEF. The bass clef is used to indicate notes in a lower ...
... This is a BASS CLEF. The bass clef is used to indicate notes in a lower ...
ap® music theory 2015 scoring guidelines
... with a root position tonic triad; the remainder of that phrase featured an unresolved leading tone and poor harmonic motion from vii to iii. Phrase three begins with a bass line that leaps up and then back down by an augmented fourth. Those first three bass notes are also unable to support the given ...
... with a root position tonic triad; the remainder of that phrase featured an unresolved leading tone and poor harmonic motion from vii to iii. Phrase three begins with a bass line that leaps up and then back down by an augmented fourth. Those first three bass notes are also unable to support the given ...
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.