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... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
Beyond Temperament: Non-Keyboard Intonation in the 17th and
... As Telemann wrote of his tuning system (174314))'It establishes a continuous proportional equality between intervals . . .' This implies something similar to a standard 'regular' mean-tone temperament, defined by Barbour as one 'in which all the fifths save one are the same size'.39 An interesting a ...
... As Telemann wrote of his tuning system (174314))'It establishes a continuous proportional equality between intervals . . .' This implies something similar to a standard 'regular' mean-tone temperament, defined by Barbour as one 'in which all the fifths save one are the same size'.39 An interesting a ...
Connections: Original Compositions with Detailed
... Sections 1 and 3 (Form Chart above) are both homophonic using clusters, and in the case of Section 1, chordal harmony is also employed. The first cluster is a sustained ppp chord comprising F4, G4, A4, B4 and is sung by the sopranos and altos from bar 3-7, (Ex 11 below). This music is repeated at ba ...
... Sections 1 and 3 (Form Chart above) are both homophonic using clusters, and in the case of Section 1, chordal harmony is also employed. The first cluster is a sustained ppp chord comprising F4, G4, A4, B4 and is sung by the sopranos and altos from bar 3-7, (Ex 11 below). This music is repeated at ba ...
Know Your Chords - Alan`s Guitar Page
... from the modes of scales as well. Also, an understanding of intervals will be helpful to visualizing scales and chord structures. This guide gives a preliminary explanation of intervals, scales and modes before discussing the secrets of chords. If you are well-versed on scales and modes, you may ski ...
... from the modes of scales as well. Also, an understanding of intervals will be helpful to visualizing scales and chord structures. This guide gives a preliminary explanation of intervals, scales and modes before discussing the secrets of chords. If you are well-versed on scales and modes, you may ski ...
The Classical Indian Just Intonation Tuning System
... (81/80): + or - 21.5 cents. The two additional septimal accidentals > and < raise / lower the pitch by a Septimal Comma (64/63): + or - 27.3 cents. ...
... (81/80): + or - 21.5 cents. The two additional septimal accidentals > and < raise / lower the pitch by a Septimal Comma (64/63): + or - 27.3 cents. ...
The Octatonic Scale Description, History, Application
... the mode 2 octatonic is created. By falling backwards by half-step into each note of a diminished seventh chord, the mode 1 octatonic is created. This implies that much of the early use of the octatonic comes from keyboard practice, as the tendency to embellish a melody shape by half step is a natur ...
... the mode 2 octatonic is created. By falling backwards by half-step into each note of a diminished seventh chord, the mode 1 octatonic is created. This implies that much of the early use of the octatonic comes from keyboard practice, as the tendency to embellish a melody shape by half step is a natur ...
Lorenz Composer
... constitute an octave. These pitches are: C, C#, D, D#, E, F, F#, G, G#, A, A#, and B. After B, the sequence repeats itself with the C from the octave above. The tones in music can be understood as sine waves of varying frequencies. The frequency of a pitch is twice that of the pitch in the octave be ...
... constitute an octave. These pitches are: C, C#, D, D#, E, F, F#, G, G#, A, A#, and B. After B, the sequence repeats itself with the C from the octave above. The tones in music can be understood as sine waves of varying frequencies. The frequency of a pitch is twice that of the pitch in the octave be ...
The Opera Industry
... opening motive) while the cello is placed above even the second violin. The sense of music out of joint, of deliberate angularity and strain, is everywhere palpable. The second movement, set as a gentle Allegretto, is the one moment of relaxation in the quartet, and features two musical modes that w ...
... opening motive) while the cello is placed above even the second violin. The sense of music out of joint, of deliberate angularity and strain, is everywhere palpable. The second movement, set as a gentle Allegretto, is the one moment of relaxation in the quartet, and features two musical modes that w ...
Singa Nebah: Adapting a Javanese Gamelan Composition for a
... arrangement are not strictly following the norms of gamelan performance. A fully notated piece for instruments which cannot even sound the correct pitches, and performed out of context would only serve to devalue a rich tradition and culture. Instead, this arrangement is best viewed as a creative bl ...
... arrangement are not strictly following the norms of gamelan performance. A fully notated piece for instruments which cannot even sound the correct pitches, and performed out of context would only serve to devalue a rich tradition and culture. Instead, this arrangement is best viewed as a creative bl ...
Chord Progressions
... "The recipe for music is part melody, lyric, rhythm, and harmony (chord progressions). The term chord progression refers to a succession of tones or chords played in a particular order for a specified duration that harmonizes with the melody. Except for styles such as rap and free jazz, chord progre ...
... "The recipe for music is part melody, lyric, rhythm, and harmony (chord progressions). The term chord progression refers to a succession of tones or chords played in a particular order for a specified duration that harmonizes with the melody. Except for styles such as rap and free jazz, chord progre ...
Royal Conservatory of Music Violin Technique, Level 5
... scherzando,simile,sostenuto,senza,giocoso lento, ...
... scherzando,simile,sostenuto,senza,giocoso lento, ...
Power Point PDF
... Example fuzzy rules: Rule 1: Use the next four notes to modify the array Key[] as if ...
... Example fuzzy rules: Rule 1: Use the next four notes to modify the array Key[] as if ...
Dissertation MUSI591 – 10C (HAM)
... all individual works in the same way that there are 32 distinct and separate Beethoven Piano Sonatas (ignoring that the Sonatas have multiple movements). To address this question, it is necessary to return to Chopin’s times and examine the contextual and aesthetic ideas that shaped his Op. 28. James ...
... all individual works in the same way that there are 32 distinct and separate Beethoven Piano Sonatas (ignoring that the Sonatas have multiple movements). To address this question, it is necessary to return to Chopin’s times and examine the contextual and aesthetic ideas that shaped his Op. 28. James ...
The Rise of 6 in the Nineteenth Century
... a working model of the major mode Today, a discussion of the major scale’s dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus exists concerning these dynamics: the “active”/“dynamic”/“dependent” degrees progress stepwise to the “stable” ...
... a working model of the major mode Today, a discussion of the major scale’s dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus exists concerning these dynamics: the “active”/“dynamic”/“dependent” degrees progress stepwise to the “stable” ...
abstract - eThesis
... in the analysis of tonal music—concerning both small and large temporal spans—several scholars have attempted to generalize it to meet the demands of post-tonal music. One approach to this, adopted in the present studies, is based on the idea that, whereas Schenkerian analysis views conventional mus ...
... in the analysis of tonal music—concerning both small and large temporal spans—several scholars have attempted to generalize it to meet the demands of post-tonal music. One approach to this, adopted in the present studies, is based on the idea that, whereas Schenkerian analysis views conventional mus ...
Musical Concepts
... Expressive techniques refer to the way a performer plays a piece of music. The composer indicates specific details and techniques to guide the musician’s performance. These directions help portray the style of the music. Expressive techniques are coupled with dynamics; without these features to give ...
... Expressive techniques refer to the way a performer plays a piece of music. The composer indicates specific details and techniques to guide the musician’s performance. These directions help portray the style of the music. Expressive techniques are coupled with dynamics; without these features to give ...
PDF text - Music Theory Online
... [14] Whether because of neural properties inherent in the masking or because the critical band coincides with intervals at which beats are maximally “rough,” the critical band is associated with a dissonant “color.” The greatest roughness occurs when one partial is near the edge of the other’s criti ...
... [14] Whether because of neural properties inherent in the masking or because the critical band coincides with intervals at which beats are maximally “rough,” the critical band is associated with a dissonant “color.” The greatest roughness occurs when one partial is near the edge of the other’s criti ...
1 LAPPEENRANTA UNIVERSITY OF TECHNOLOGY Faculty
... 2001, p.126,158). Pythagorean tuning is not well suited for polyphonic music. For this reason, in the 1600s the meantone temperament was getting more common. (Campbell, 1987, s.176.) It is not suited for music that relies strongly on chords or melodies that vary their pitch either, so during the 170 ...
... 2001, p.126,158). Pythagorean tuning is not well suited for polyphonic music. For this reason, in the 1600s the meantone temperament was getting more common. (Campbell, 1987, s.176.) It is not suited for music that relies strongly on chords or melodies that vary their pitch either, so during the 170 ...
File - Christopher Hoddinott.com
... Rodrigo’s harmonic language is tonal, but he uses an extended vocabulary of chords, including many discords. Some of these derive from the use of the Phrygian mode in Flamenco music, while others are based (especially in the second movement) on the dominant minor 9th chord. Dissonant chords and domi ...
... Rodrigo’s harmonic language is tonal, but he uses an extended vocabulary of chords, including many discords. Some of these derive from the use of the Phrygian mode in Flamenco music, while others are based (especially in the second movement) on the dominant minor 9th chord. Dissonant chords and domi ...
music
... Includes the characteristics of types of elementary school choral ensembles, the principles and techniques of performance, and the skills and activities appropriate for performance. Identify voice parts, activities, and techniques appropriate for choral performance at the secondary level. Includes t ...
... Includes the characteristics of types of elementary school choral ensembles, the principles and techniques of performance, and the skills and activities appropriate for performance. Identify voice parts, activities, and techniques appropriate for choral performance at the secondary level. Includes t ...
2. Middle Ages
... And by textually troping this piece, we have turned part of the Ordinary into ...
... And by textually troping this piece, we have turned part of the Ordinary into ...
1 Interlude: Two-to-One Counterpoint Introduction In the last
... Interlude: Two-to-One Counterpoint Introduction In the last counterpoint interlude, we looked at one-to-one (first species) counterpoint, in which the cantus firmus and contrapuntal voice move at the same speeds. In combination with certain harmonic norms (like cadences and root motion by fourth or ...
... Interlude: Two-to-One Counterpoint Introduction In the last counterpoint interlude, we looked at one-to-one (first species) counterpoint, in which the cantus firmus and contrapuntal voice move at the same speeds. In combination with certain harmonic norms (like cadences and root motion by fourth or ...
Clara Wieck-Schumann: Piano Trio in G minor, Op. 17, movement 1
... o Andante – G major o Allegretto – G minor. ...
... o Andante – G major o Allegretto – G minor. ...
hugues dufourt`s “manifesto of the music of our times”
... when questioned, Dufourt admitted that these works have narrative in the sense of Cassirer’s symbolic forms.4 That is, it is less important that his music refer to some external reality, than it produce a world of its own (Cassirer 1946, 8). To understand this, we must look at how the elements of mu ...
... when questioned, Dufourt admitted that these works have narrative in the sense of Cassirer’s symbolic forms.4 That is, it is less important that his music refer to some external reality, than it produce a world of its own (Cassirer 1946, 8). To understand this, we must look at how the elements of mu ...
Carl Nielsen Studies V - Svend Hvidtfelt Nielsen
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
Figured bass
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.