![Music 11, 7/10/06 Scales/Intervals We already know half steps and](http://s1.studyres.com/store/data/005578793_1-c3484011cd8fa52738d268371f0eefa5-300x300.png)
Music 11, 7/10/06 Scales/Intervals We already know half steps and
... Suppose we take the two notes that make up a second, and “flip” them over—that is, lets put the lower note up an octave, so that it lies above the other note. The distance between E-D is now D-E. We say that the “inversion” of E-D is D-E, and the interval that results is not a second, but instead a ...
... Suppose we take the two notes that make up a second, and “flip” them over—that is, lets put the lower note up an octave, so that it lies above the other note. The distance between E-D is now D-E. We say that the “inversion” of E-D is D-E, and the interval that results is not a second, but instead a ...
Opera and Classical Singing
... The Cadence or Cadenza is an elaborate melodic embellishment, either written by the composer or created by the singer. It occurs at the end of a section or at the conclusion of an aria to add emotional excitement and to show off the singer's vocal ability and artistry. This embellishment is usually ...
... The Cadence or Cadenza is an elaborate melodic embellishment, either written by the composer or created by the singer. It occurs at the end of a section or at the conclusion of an aria to add emotional excitement and to show off the singer's vocal ability and artistry. This embellishment is usually ...
The Geometry of Musical Chords REPORTS
... of connecting the individual notes in a series of chords so as to form simultaneous melodies. Chords are usually connected so that these lines (or voices) move independently (not all in the same direction by the same amount), efficiently (by short distances), and without voice crossings (along nonin ...
... of connecting the individual notes in a series of chords so as to form simultaneous melodies. Chords are usually connected so that these lines (or voices) move independently (not all in the same direction by the same amount), efficiently (by short distances), and without voice crossings (along nonin ...
The Renaissance 4/4 Other Features of the Style
... When writing 3-part polyphony, composers of the Renaissance avoided doubling the following notes: • leading notes • dominant 7ths • dissonances • chromatically-altered notes. This is because: 1. by their dissonance these notes were already ‘prominent’ and so did not need ‘doubling’ - which unbalance ...
... When writing 3-part polyphony, composers of the Renaissance avoided doubling the following notes: • leading notes • dominant 7ths • dissonances • chromatically-altered notes. This is because: 1. by their dissonance these notes were already ‘prominent’ and so did not need ‘doubling’ - which unbalance ...
Glossary of Musical Terms
... FORM -- The "shape" or "structure" of a piece of music LARGE-SCALE FORM (Forms that characterize an entire piece of music, or a substantial section of a piece of music) Call and Response: Alternation between a varied melody or rhythm (performed by a soloist and often improvised) and a fixed, repeate ...
... FORM -- The "shape" or "structure" of a piece of music LARGE-SCALE FORM (Forms that characterize an entire piece of music, or a substantial section of a piece of music) Call and Response: Alternation between a varied melody or rhythm (performed by a soloist and often improvised) and a fixed, repeate ...
Main Subjects
... Jean Tubéry proposes an approach to and the in-depth study of the cornetto (‘cornet à bouquin’) and of the family of instruments of which it is part (mute cornett, cornettino, alto and tenor cornett). The vast repertoire for these instruments extends from the beginning of 16th century to the middle ...
... Jean Tubéry proposes an approach to and the in-depth study of the cornetto (‘cornet à bouquin’) and of the family of instruments of which it is part (mute cornett, cornettino, alto and tenor cornett). The vast repertoire for these instruments extends from the beginning of 16th century to the middle ...
Benward Chapter 3
... Accidentals raise and lower pitches. Always placed in front of the note in printed music Always placed after the name of the note – example, F# Sharp – raises a pitch by a half step Flat – lowers a pitch by a half step Double Flat – lowers a pitch by two half steps Double Sharp – raises a pitch by t ...
... Accidentals raise and lower pitches. Always placed in front of the note in printed music Always placed after the name of the note – example, F# Sharp – raises a pitch by a half step Flat – lowers a pitch by a half step Double Flat – lowers a pitch by two half steps Double Sharp – raises a pitch by t ...
Special Special tthank hanks tos to Siebe Siebe Henstra and Wilbert
... elegance surely would have appealed to the public. His brother Wilhelm Friedemann, however, was less successful in his musical publications. The sonata in D major was printed in 1745 while Friedemann lived in Dresden, but didn't receive much attention. Probably the piece's scale, contrapuntal outloo ...
... elegance surely would have appealed to the public. His brother Wilhelm Friedemann, however, was less successful in his musical publications. The sonata in D major was printed in 1745 while Friedemann lived in Dresden, but didn't receive much attention. Probably the piece's scale, contrapuntal outloo ...
Understanding 12-bar Blues The most common musical form of
... The most common musical form of blues is the 12-bar blues. The term "12-bar" refers to the number of measures, or musical bars, used to express the theme of a typical blues song. Nearly all blues music is played to a 4/4 time signature, which means that there are four beats in every measure or bar a ...
... The most common musical form of blues is the 12-bar blues. The term "12-bar" refers to the number of measures, or musical bars, used to express the theme of a typical blues song. Nearly all blues music is played to a 4/4 time signature, which means that there are four beats in every measure or bar a ...
D:\EIGENE~1\CHOROI~1\PROSPE~1\BORDUN~1\Bordunleier GB
... higher than the second. Through this, a rich variety of sound effects, including ‘beat tones’ will be made possibble, with the second player playing a constant ‘drone’- bass (German: Generalbass). The practising of small motives, repetition and pauses works back again on the subsequent development o ...
... higher than the second. Through this, a rich variety of sound effects, including ‘beat tones’ will be made possibble, with the second player playing a constant ‘drone’- bass (German: Generalbass). The practising of small motives, repetition and pauses works back again on the subsequent development o ...
Reading Music: The Basics
... Music does not normally go directly from soft to loud or vice-versa; usually, there is a gradual increase or decrease in volume. The original gradual change symbols are Italian, italicized abbreviations: ...
... Music does not normally go directly from soft to loud or vice-versa; usually, there is a gradual increase or decrease in volume. The original gradual change symbols are Italian, italicized abbreviations: ...
Chapter outlines - Mommas-Lil-Girl
... Mozart's Eine kleine Nachtmusik modulates in the first minute from G major to D Major (iMusic) o Transposition: shifting all the tones of a piece to a new pitch level The pattern of whole and half steps does not change ...
... Mozart's Eine kleine Nachtmusik modulates in the first minute from G major to D Major (iMusic) o Transposition: shifting all the tones of a piece to a new pitch level The pattern of whole and half steps does not change ...
Music, Mathematics and Bach --------~--------
... melody was reinforced by harmonically related notes from below or above. This kind of writing, in contrast to monophony or polyphony, is called 'homophony'. A group of harmonically related notes played together is called a 'chord': thus, at the opposite extreme from polyphony, a composition could no ...
... melody was reinforced by harmonically related notes from below or above. This kind of writing, in contrast to monophony or polyphony, is called 'homophony'. A group of harmonically related notes played together is called a 'chord': thus, at the opposite extreme from polyphony, a composition could no ...
Music Beginning
... 25. A rest that receives 4 beats of silence in 4/4 time is a____. a. Dotted half rest b. whole rest c. eighth rest 26. The lowest female singing voice is ________________. a. soprano b. alto c. tenor 27. A rest that receives 3 beats of sound in 4/4 time is a _____. a. dotted half rest b. whole rest ...
... 25. A rest that receives 4 beats of silence in 4/4 time is a____. a. Dotted half rest b. whole rest c. eighth rest 26. The lowest female singing voice is ________________. a. soprano b. alto c. tenor 27. A rest that receives 3 beats of sound in 4/4 time is a _____. a. dotted half rest b. whole rest ...
Text and Music Melody Rhythm Harmony Texture Musical Text Setting
... from our look at this hymn, which will help us evaluate other hymns for use in worship? 1. The text of a hymn must be Christ centered, doctrinally sound, poetically well crafted, and edifying for new and mature believers alike. 2. The music for the hymn must be well crafted in its elemental layers—i ...
... from our look at this hymn, which will help us evaluate other hymns for use in worship? 1. The text of a hymn must be Christ centered, doctrinally sound, poetically well crafted, and edifying for new and mature believers alike. 2. The music for the hymn must be well crafted in its elemental layers—i ...
notes and scales
... (re) you have one tone because you have another key between both keys. This black key is the sharp C or flat D (therefore, you could call one sound with two different names). On the other hand, between the keys of E (mi) and F (fa) you have one semitone because there isn’t any key between both keys. ...
... (re) you have one tone because you have another key between both keys. This black key is the sharp C or flat D (therefore, you could call one sound with two different names). On the other hand, between the keys of E (mi) and F (fa) you have one semitone because there isn’t any key between both keys. ...
7th Grade Elements Test
... 21. When there is more than one rhythm played at the same time it is: a. polyphony b. polyrhythm c. solo d. melody 22. When there are two or more melodies played together it is a: a.polyphony b. polyrhythm c. solo d. melody 23. A simple pattern of notes that keeps the melody company is the: a. polyp ...
... 21. When there is more than one rhythm played at the same time it is: a. polyphony b. polyrhythm c. solo d. melody 22. When there are two or more melodies played together it is a: a.polyphony b. polyrhythm c. solo d. melody 23. A simple pattern of notes that keeps the melody company is the: a. polyp ...
Music Elements Test PDF
... 21. When there is more than one rhythm played at the same time it is: a. polyphony b. polyrhythm c. solo d. melody 22. When there are two or more melodies played together it is a: a.polyphony b. polyrhythm c. solo d. melody 23. A simple pattern of notes that keeps the melody company is the: a. polyp ...
... 21. When there is more than one rhythm played at the same time it is: a. polyphony b. polyrhythm c. solo d. melody 22. When there are two or more melodies played together it is a: a.polyphony b. polyrhythm c. solo d. melody 23. A simple pattern of notes that keeps the melody company is the: a. polyp ...
Accent marks - Cobb New Horizons Band
... mean when they say accent mark. The vertical accent, third in the diagram, may be stronger or weaker than the horizontal accent; composers have never been consistent in using these markings. The vertical accent has many informal names such as a teepee, housetop, or mamba-jamba. In most musical works ...
... mean when they say accent mark. The vertical accent, third in the diagram, may be stronger or weaker than the horizontal accent; composers have never been consistent in using these markings. The vertical accent has many informal names such as a teepee, housetop, or mamba-jamba. In most musical works ...
Proficiencies—Piano Student Name: First Last Course Number
... Play various combinations of instrumental parts from an instrumental score and transpose them to concert pitch. ...
... Play various combinations of instrumental parts from an instrumental score and transpose them to concert pitch. ...
Improvisation in Early Music Author(s): Ben Bechtel Source: Music
... The jigsaw puzzle analogy is relevant because early music students must deal with manners of performance that have not evolved through an unbroken chain of practice or ongoing tradition. Yet even if we possessed all the missing links, we could not arrive at "standard," "complete" performing editions ...
... The jigsaw puzzle analogy is relevant because early music students must deal with manners of performance that have not evolved through an unbroken chain of practice or ongoing tradition. Yet even if we possessed all the missing links, we could not arrive at "standard," "complete" performing editions ...
Ultimate Sub`s Guide
... Musical Memory Add-a-Note ............................................................2-3 ..................................................... 37 Music in Images and Words................................................................1-3 .....................................................38 Iden ...
... Musical Memory Add-a-Note ............................................................2-3 ..................................................... 37 Music in Images and Words................................................................1-3 .....................................................38 Iden ...
69s and pentatonics
... (If the natural 5th is used with a minor 3rd we have the minor pentatonic scale.) The blues scale is used in jazz, pop music and gospel music. If you want a quick way of finding the blues scale for any key, think of the minor pentatonic scale and lower the 5th by a semitone. In some funky music you ...
... (If the natural 5th is used with a minor 3rd we have the minor pentatonic scale.) The blues scale is used in jazz, pop music and gospel music. If you want a quick way of finding the blues scale for any key, think of the minor pentatonic scale and lower the 5th by a semitone. In some funky music you ...
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.