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View - Ross Hamilton`s Music Education Resources
... Erik Satie was an eccentric French composer and pianist. He was born in Honfleur (Lower Normandy) in 1866. Satie studied at the Paris Conservatoire, though not very diligently; he was expelled in his third year, and a second attempt some years later was hardly more successful. In 1888 some of his co ...
... Erik Satie was an eccentric French composer and pianist. He was born in Honfleur (Lower Normandy) in 1866. Satie studied at the Paris Conservatoire, though not very diligently; he was expelled in his third year, and a second attempt some years later was hardly more successful. In 1888 some of his co ...
File - Mr. Deininger`s Page
... 4. Never double a tendency tone. This guideline applies most frequently to the leading tone of the key (7) and to the seventh of the dominant seventh chord (4), but includes any tones that must be resolved, such as chromatic passing tones and altered tones. ...
... 4. Never double a tendency tone. This guideline applies most frequently to the leading tone of the key (7) and to the seventh of the dominant seventh chord (4), but includes any tones that must be resolved, such as chromatic passing tones and altered tones. ...
ADVANCED INSTRUMENTAL STUDIES
... than they are. It is best to improvise with the theme and find out which patterns feel and sound good to you. Ultimately, in performance contexts we would be more likely to improvise within this theme rather than play set patterns from exercises. This philosophy stands for all of our songo studies. ...
... than they are. It is best to improvise with the theme and find out which patterns feel and sound good to you. Ultimately, in performance contexts we would be more likely to improvise within this theme rather than play set patterns from exercises. This philosophy stands for all of our songo studies. ...
FREE - James Buckham
... a hit and miss affair. Your playing will become gradually more ‘hit’ and less ‘miss’ partly as you develop visual and tactile memory of successes and errors. However, a basic intellectual understanding of the music you are playing will also have a very great impact on your ‘hit’ rate. It will also h ...
... a hit and miss affair. Your playing will become gradually more ‘hit’ and less ‘miss’ partly as you develop visual and tactile memory of successes and errors. However, a basic intellectual understanding of the music you are playing will also have a very great impact on your ‘hit’ rate. It will also h ...
7609.01 A2 (Part 2) Written Paper (Summer 2012).indd
... collections, dated 1598 and 1609 respectively, it is of the highest quality and places him among the leading English madrigal composers. In 1601 he contributed a madrigal to the Triumphes of Oriana collection edited by Morley. The poems chosen by Wilbye are Italianate and many are in madrigal verse ...
... collections, dated 1598 and 1609 respectively, it is of the highest quality and places him among the leading English madrigal composers. In 1601 he contributed a madrigal to the Triumphes of Oriana collection edited by Morley. The poems chosen by Wilbye are Italianate and many are in madrigal verse ...
Transposing Chord Symbols
... major thirteenth is added to the eleventh chords given above if, to relieve the texture, the eleventh is missing the chord remains a 13th; if, however, the eleventh is present but altered, this must be shown in the name of the chord Here are a number of other chords that feature in modern popular mu ...
... major thirteenth is added to the eleventh chords given above if, to relieve the texture, the eleventh is missing the chord remains a 13th; if, however, the eleventh is present but altered, this must be shown in the name of the chord Here are a number of other chords that feature in modern popular mu ...
Baroque Music - The Fyre and Lightning Consort
... the solo concerto, which featured a single instrument in contrast with an ensemble. The most prolific composer of the solo concerto was Antonio Vivaldi, who wrote approximately 350 and established the concerto’s standard three-movement form (two fast outer movements, one middle movement in a slower ...
... the solo concerto, which featured a single instrument in contrast with an ensemble. The most prolific composer of the solo concerto was Antonio Vivaldi, who wrote approximately 350 and established the concerto’s standard three-movement form (two fast outer movements, one middle movement in a slower ...
Slide 1
... •Cultures have developed their music in various ways, among them differences in the ways they divided an octave into notes. •Western music uses a pattern of 5 - 7 notes in a scale. •African cultures also use 7 notes with the 3rd and 7th notes slightly flattened, these are now known as “blue notes” ...
... •Cultures have developed their music in various ways, among them differences in the ways they divided an octave into notes. •Western music uses a pattern of 5 - 7 notes in a scale. •African cultures also use 7 notes with the 3rd and 7th notes slightly flattened, these are now known as “blue notes” ...
BACH 740 - MUSIC for BACH`S DOMESTIC KEYBOARD
... “What did people do in the evenings before television came?”, a question for which only the elderly today can recall an answer. In Bach’s time music-making would certainly have played a major role, while those not playing might be engaged in reading or quiet domestic work such as making and repairin ...
... “What did people do in the evenings before television came?”, a question for which only the elderly today can recall an answer. In Bach’s time music-making would certainly have played a major role, while those not playing might be engaged in reading or quiet domestic work such as making and repairin ...
Symmetry in Music - College of the Holy Cross
... In other words, this canon is a musical “palindrome” -- as a whole piece of music, it is symmetric under reflection in time around the barline between measures 9 and 10. It would sound the same played forwards or backward in time(!) Another point: Who's Kirnberger? We didn't mention this before, b ...
... In other words, this canon is a musical “palindrome” -- as a whole piece of music, it is symmetric under reflection in time around the barline between measures 9 and 10. It would sound the same played forwards or backward in time(!) Another point: Who's Kirnberger? We didn't mention this before, b ...
AoS2 – Harmony and Tonality
... ! A special four-‐note chord can be built on the dominant – chord V ! Instead of doubling one of the triad notes we add a new notes seven notes about the root ! For example, in C major, ...
... ! A special four-‐note chord can be built on the dominant – chord V ! Instead of doubling one of the triad notes we add a new notes seven notes about the root ! For example, in C major, ...
38. Schubert Der Doppelgänger Background information and performance circumstances 1
... Texture The texture is homophonic. The voice has the main melodic interest. The piano part is almost entirely homorhythmic or chordal (with block chords) as at the start. • It has mostly chords containing five notes – but only because there is much parallel doubling*. • It often has just two ‘real’ ...
... Texture The texture is homophonic. The voice has the main melodic interest. The piano part is almost entirely homorhythmic or chordal (with block chords) as at the start. • It has mostly chords containing five notes – but only because there is much parallel doubling*. • It often has just two ‘real’ ...
June 27 - UCSB Music
... The grand staff is broad, but even it does not account for all the pitches we hear in music. If a pitch is very high, it might appear above the top staff. Likewise, a very low-sounding pitch will appear below the bottom staff. In order to be clear, these pitches are written with ledger lines. Ledger ...
... The grand staff is broad, but even it does not account for all the pitches we hear in music. If a pitch is very high, it might appear above the top staff. Likewise, a very low-sounding pitch will appear below the bottom staff. In order to be clear, these pitches are written with ledger lines. Ledger ...
Chapter 1 summary
... note is the nota cambiata. The surrounding first and third notes are always consonant with the lowest voice. The second and fourth notes may or may not be dissonant. 13. Suspensions (3-voice): 9-8 (2-1), 4-3, plus the 7-6 and 2-3. 14. The 4th may be “consonant” in 3-part writing when a second invers ...
... note is the nota cambiata. The surrounding first and third notes are always consonant with the lowest voice. The second and fourth notes may or may not be dissonant. 13. Suspensions (3-voice): 9-8 (2-1), 4-3, plus the 7-6 and 2-3. 14. The 4th may be “consonant” in 3-part writing when a second invers ...
Dynamics / louds and softs Fortissimo very loud Forte loud piano soft
... the whole orchestra plays smoothly notes are detached, separated from one another (opposite of legato) A secondary melody that is played at the same time as the main melody. A countermelody could be used in Classical music, a Disco song, a Salsa piece or even in a piece of Serial music. This term is ...
... the whole orchestra plays smoothly notes are detached, separated from one another (opposite of legato) A secondary melody that is played at the same time as the main melody. A countermelody could be used in Classical music, a Disco song, a Salsa piece or even in a piece of Serial music. This term is ...
Powerpoint
... How can you describe the harmony of this piece? In a monophonic performance there is no harmony. Suggestions of a B minor outlined chord just after 3 minutes ...
... How can you describe the harmony of this piece? In a monophonic performance there is no harmony. Suggestions of a B minor outlined chord just after 3 minutes ...
Music Evolution
... Atonal Music Listen to this first piece of traditional ‘classical’ piece of music – take note of the instruments, types of chords, elements of music used. Now listen to this second piece of music – what’s different from the 1st piece? Try and list all the main features of the music ...
... Atonal Music Listen to this first piece of traditional ‘classical’ piece of music – take note of the instruments, types of chords, elements of music used. Now listen to this second piece of music – what’s different from the 1st piece? Try and list all the main features of the music ...
7th Grade Music Guidebook
... *Bar Lines-are shown below. These separate measures (groups or beats.) A measure is signified by the distance between two bar lines. The vertical lines here are bar lines 5) Instrument Families All orchestral instruments can be placed into one of the following instrument families: strings, woodwinds ...
... *Bar Lines-are shown below. These separate measures (groups or beats.) A measure is signified by the distance between two bar lines. The vertical lines here are bar lines 5) Instrument Families All orchestral instruments can be placed into one of the following instrument families: strings, woodwinds ...
Week 1-Review
... However, when we look at the keyboard, we see that B raised to the nearest key is actually C. B# and C are enharmonic notes. Cb and B are enharmonic notes, as well as E# and F and Fb and E. In addition, a white key may have a name other than it’s natural white key name. Notes can be double flatted ( ...
... However, when we look at the keyboard, we see that B raised to the nearest key is actually C. B# and C are enharmonic notes. Cb and B are enharmonic notes, as well as E# and F and Fb and E. In addition, a white key may have a name other than it’s natural white key name. Notes can be double flatted ( ...
Diatonic Autoharps Explained
... The diatonic scale is the do-re-mi scale using seven tones. An autoharp tuned to a diatonic scale (which could be in any key) does not have the sharps and flats normally available on a chromatic ‘harp. The big disadvantage is that with this ‘harp you are limited to play only in the designated key. N ...
... The diatonic scale is the do-re-mi scale using seven tones. An autoharp tuned to a diatonic scale (which could be in any key) does not have the sharps and flats normally available on a chromatic ‘harp. The big disadvantage is that with this ‘harp you are limited to play only in the designated key. N ...
Tonality vs. Atonality
... • Voice-Leading Procedures: 7th resolves up; 4th scale degree resolves down to the third. • Melodic emphasis on scale degrees 1,3,5; Melodic Skips between 1 and 5. • Works begin and end in the same key. • Diatonicism. The more chromatic chords are used the less stable the tonality becomes. • Strong ...
... • Voice-Leading Procedures: 7th resolves up; 4th scale degree resolves down to the third. • Melodic emphasis on scale degrees 1,3,5; Melodic Skips between 1 and 5. • Works begin and end in the same key. • Diatonicism. The more chromatic chords are used the less stable the tonality becomes. • Strong ...
The Music Staff
... on a line. The space above that line is named for the next letter in the music alphabet. The space above the G line is A because the music alphabet starts over after G. The space above the C line is D. ...
... on a line. The space above that line is named for the next letter in the music alphabet. The space above the G line is A because the music alphabet starts over after G. The space above the C line is D. ...
Seventh chords - Wilson Central High School Band
... SEVENTH CHORDS • Seventh chords are named by the quality of the triad plus the quality of the seventh when measured from the root. • A major-major seventh chord (MM7) has a major triad and a major 7th (CEGB). This is also known as a major 7th. • A minor-minor seventh chord (mm7) has a minor triad a ...
... SEVENTH CHORDS • Seventh chords are named by the quality of the triad plus the quality of the seventh when measured from the root. • A major-major seventh chord (MM7) has a major triad and a major 7th (CEGB). This is also known as a major 7th. • A minor-minor seventh chord (mm7) has a minor triad a ...
3 special topics
... Letters A-G, which repeat in the next octave half steps between most notes (just not B-C and E-F) 12 notes per octave A, A♯, B, C, C ♯, D, D♯, E, F, F♯, G, G♯ – Pitch values double at the next octave up ...
... Letters A-G, which repeat in the next octave half steps between most notes (just not B-C and E-F) 12 notes per octave A, A♯, B, C, C ♯, D, D♯, E, F, F♯, G, G♯ – Pitch values double at the next octave up ...
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.