about Barbershop style music.
... can be confusing at first as it is written as the top line of the bass clef, but sung an octave higher. It is also very different from traditional alto because the baritone harmony notes often cross the lead notes, sometimes sung below and sometimes sung above. Baritones must constantly adjust their ...
... can be confusing at first as it is written as the top line of the bass clef, but sung an octave higher. It is also very different from traditional alto because the baritone harmony notes often cross the lead notes, sometimes sung below and sometimes sung above. Baritones must constantly adjust their ...
lhs music theory final exam review sheet
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
Notation Note lengths and rests from semibreve to semiquaver
... willbe used in the listening test. Candidates will not be penalised for correctly using other terminology outside of the list. Many of the terms are basic musical terms which candidates will be familiar with when entering the course. Candidates will also use many of the concepts listed in their perf ...
... willbe used in the listening test. Candidates will not be penalised for correctly using other terminology outside of the list. Many of the terms are basic musical terms which candidates will be familiar with when entering the course. Candidates will also use many of the concepts listed in their perf ...
Higher Music Concepts
... Sometimes referred to as continuo. In the Baroque period, the continuo part consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon, along with which was the harpsichord, organ or lute which filled in harmonies built on the bass line. Sometimes numbers were written ...
... Sometimes referred to as continuo. In the Baroque period, the continuo part consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon, along with which was the harpsichord, organ or lute which filled in harmonies built on the bass line. Sometimes numbers were written ...
CONCERTO FOR BASS TROMBONE
... The second movement is based on a relentless grave figure, strongly in the minor, broken in the middle by a lighter, more pastoral episode; all of which shows the darker side of the bass trombone’s sound as well as its power. The third movement is based on driving semiquavers in the manner of much r ...
... The second movement is based on a relentless grave figure, strongly in the minor, broken in the middle by a lighter, more pastoral episode; all of which shows the darker side of the bass trombone’s sound as well as its power. The third movement is based on driving semiquavers in the manner of much r ...
You Can Get It If You Really Want (p
... The vocal line uses a lot of melismas – one syllable spread across two or more notes – especially at the end of phrases. Melodic lines are short – one or two bar units, rather than longer phrases. ...
... The vocal line uses a lot of melismas – one syllable spread across two or more notes – especially at the end of phrases. Melodic lines are short – one or two bar units, rather than longer phrases. ...
The Baroque 1/4
... Step-wise movement gives the music direction – towards the tonic or the dominant; often helped by contrary motion in the top part. •Ascending scales usually move between tonic and dominant chords (examples on next slide). •Descending scale movements produce particularly strong and satisfying progres ...
... Step-wise movement gives the music direction – towards the tonic or the dominant; often helped by contrary motion in the top part. •Ascending scales usually move between tonic and dominant chords (examples on next slide). •Descending scale movements produce particularly strong and satisfying progres ...
Course Description
... Analysis of repertoire, including analysis of motivic treatment and harmonic analysis The course includes the following scales: major, minor, modal, pentatonic, and whole tone. The course covers the following concepts or procedures based in common-practice tonality: ...
... Analysis of repertoire, including analysis of motivic treatment and harmonic analysis The course includes the following scales: major, minor, modal, pentatonic, and whole tone. The course covers the following concepts or procedures based in common-practice tonality: ...
Tonal Harmony Chapter 5 Pinciples of Voice Leading
... Voice leading (part writing): chords are produced by the motions of individual musical lines Counterpoint: refer to the combining of relatively independent musical lines Naturally, the style of voice leading will depend on: o Composer o Musical effect o Performing medium (e.g. large melodic le ...
... Voice leading (part writing): chords are produced by the motions of individual musical lines Counterpoint: refer to the combining of relatively independent musical lines Naturally, the style of voice leading will depend on: o Composer o Musical effect o Performing medium (e.g. large melodic le ...
Symbolic Music Representations
... The most common naming convention for intervals uses two attributes to describe them: quality and number. Quality Quality: perfect, major, minor, augmented, diminished. Number Number: unison, second, third, fifth, sixth, seventh, octave and is based on counting staff positions ...
... The most common naming convention for intervals uses two attributes to describe them: quality and number. Quality Quality: perfect, major, minor, augmented, diminished. Number Number: unison, second, third, fifth, sixth, seventh, octave and is based on counting staff positions ...
Comparison of Sonata IV by Biagio Marini and Trio
... It is amazing to consider the value of the resource left to us by composers such as Biagio Marini and Arcangelo Corelli, when viewed through the lens of history. The Baroque era was an exciting time in which musical ideas were changing and being challenged, and the diversity of work from that era is ...
... It is amazing to consider the value of the resource left to us by composers such as Biagio Marini and Arcangelo Corelli, when viewed through the lens of history. The Baroque era was an exciting time in which musical ideas were changing and being challenged, and the diversity of work from that era is ...
Introduction to Figured Bass
... bass instrument such as cello, bassoon or trombone would play the bass line. At the same time, a chordal instrument such as harpsichord, lute or organ would also play the bass line and provide middle range pitches that would fill in the harmonies implied by that bass line. Initially, basso continuo ...
... bass instrument such as cello, bassoon or trombone would play the bass line. At the same time, a chordal instrument such as harpsichord, lute or organ would also play the bass line and provide middle range pitches that would fill in the harmonies implied by that bass line. Initially, basso continuo ...
ROOTS LEVEL - Youth Music Project
... Finger Numbers on both hands Identify all of the line and space note names on the Treble Clef Play treble clef notes in c position (C, D, E, F, G) Demonstrate understanding of measure, bar lines, double bar lines, repeat, staff, treble clef Understand and demonstrate ability to follow ...
... Finger Numbers on both hands Identify all of the line and space note names on the Treble Clef Play treble clef notes in c position (C, D, E, F, G) Demonstrate understanding of measure, bar lines, double bar lines, repeat, staff, treble clef Understand and demonstrate ability to follow ...
Sample Grade 4 Theory Paper
... Transpose this tune up an octave so that a double bass will be able to play it at the same pitch as the following notes. ...
... Transpose this tune up an octave so that a double bass will be able to play it at the same pitch as the following notes. ...
definitions - St. Joseph`s High School Crossmaglen
... Atonal- the use of only full tones (eg. C, D, E, F#, G#, A#, C) Serial- 20th century music that uses a definite order of semitones. Arpeggio Bass- an arpeggio accompaniment eg. C, E, G, C, E, G, C, E, G, C, E, G, etc. Ground Bass- A musical line in the bass that is continually repeated throughout Pe ...
... Atonal- the use of only full tones (eg. C, D, E, F#, G#, A#, C) Serial- 20th century music that uses a definite order of semitones. Arpeggio Bass- an arpeggio accompaniment eg. C, E, G, C, E, G, C, E, G, C, E, G, etc. Ground Bass- A musical line in the bass that is continually repeated throughout Pe ...
Baroque Vocal Music
... Two or more people sing the same line. (also applies to instruments). One musical part ...
... Two or more people sing the same line. (also applies to instruments). One musical part ...
A Crash Course in Renaissance Counterpoint
... This is a little complex, however. Sometimes there are so-called ‘consonant’ fourths, as in the common cadential harmonic figure 3443 over the dominant. Here the dissonant fourth on the third beat is ‘prepared’ on the second beat (but over the same bass note!). ...
... This is a little complex, however. Sometimes there are so-called ‘consonant’ fourths, as in the common cadential harmonic figure 3443 over the dominant. Here the dissonant fourth on the third beat is ‘prepared’ on the second beat (but over the same bass note!). ...
Harmony Rules - Jeanie`s Online Music Studio
... A Plagal cadence is chords IV – I and has a finished sound bring the music to a close. Write down the available notes. • We work these exactly as for the perfect cadence except there is no leading note. * Write in the bass notes (the root of each chord). * Keep the note in common to both chords in t ...
... A Plagal cadence is chords IV – I and has a finished sound bring the music to a close. Write down the available notes. • We work these exactly as for the perfect cadence except there is no leading note. * Write in the bass notes (the root of each chord). * Keep the note in common to both chords in t ...
Terms and Definitions – Jan
... Counterpoint – the harmonious opposition of two or more independent musical lines Madrigal - an aristocratic form of poetry and music for a small group of singers that originated in the 16th century in small, northern Italian courts Word painting – a technique of depicting the meaning of specific wo ...
... Counterpoint – the harmonious opposition of two or more independent musical lines Madrigal - an aristocratic form of poetry and music for a small group of singers that originated in the 16th century in small, northern Italian courts Word painting – a technique of depicting the meaning of specific wo ...
Defintions - WordPress.com
... A capella- choral music without instrumental accompaniment Accents- emphasis on a note (either louder, longer, higher) compared to notes around it Arpeggio (Broken Chord) - sounding of the individual tones of a chord in sequence rather than simultaneously Bar/Measure- a group set off by bar lines, c ...
... A capella- choral music without instrumental accompaniment Accents- emphasis on a note (either louder, longer, higher) compared to notes around it Arpeggio (Broken Chord) - sounding of the individual tones of a chord in sequence rather than simultaneously Bar/Measure- a group set off by bar lines, c ...
Dan`s Music Theory 101 Cheat Sheet []
... Diatonic- A note that is in the current scale/key. Downbeat- The first beat in a measure. Flat- Lowers the note a half step. Half Step- Move one notch on the wheel, or one fret on a bass/guitar. Also called a semitone. Key- Reference to what scale of notes a song is based on. Root- The note in which ...
... Diatonic- A note that is in the current scale/key. Downbeat- The first beat in a measure. Flat- Lowers the note a half step. Half Step- Move one notch on the wheel, or one fret on a bass/guitar. Also called a semitone. Key- Reference to what scale of notes a song is based on. Root- The note in which ...
Dan`s Music Theory 101 Cheat Sheet
... Diatonic- A note that is in the current scale/key. Downbeat- The first beat in a measure. Flat- Lowers the note a half step. Half Step- Move one notch on the wheel, or one fret on a bass/guitar. Also called a semitone. Key- Reference to what scale of notes a song is based on. Root- The note in which ...
... Diatonic- A note that is in the current scale/key. Downbeat- The first beat in a measure. Flat- Lowers the note a half step. Half Step- Move one notch on the wheel, or one fret on a bass/guitar. Also called a semitone. Key- Reference to what scale of notes a song is based on. Root- The note in which ...
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.