Questions in the field of music - Comenius What are the names of
... Wola in 1810? 8. In which of the following instruments is there a resonating box? (banjo, guitar, harp) 9. Say the names of three instruments that are played by a bow? (violin, viola, cello, double bass). 10. Who composed the famous song “For Elise”? (Beethoven) 11. How many people are there in the ...
... Wola in 1810? 8. In which of the following instruments is there a resonating box? (banjo, guitar, harp) 9. Say the names of three instruments that are played by a bow? (violin, viola, cello, double bass). 10. Who composed the famous song “For Elise”? (Beethoven) 11. How many people are there in the ...
Higher Concepts - Dunblane High School Music Website
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
Higher Concepts Higher Music Listening 2014 Onwards Music
... 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is us ...
... 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is us ...
Higher Concepts - Garnock Academy
... 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is us ...
... 17th-century opera. In a Concerto grosso, the ritornello is the main theme played by the Ripieno group (the orchestra) and sometimes by Concertino (the soloists). The ritornello may return frequently throughout the movement, similar to a Rondo. Sometimes known as first movement form. This term is us ...
Voice leading from IV-V
... is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice leading from IV to V is to use the non-common tone technique, as shown in bar 2. Raise the bass (we're stil ...
... is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice leading from IV to V is to use the non-common tone technique, as shown in bar 2. Raise the bass (we're stil ...
Voice-Leading Guidelines:
... Cadential: The bass steps or leaps into 5 degree, stays on 5 , then leaps to tonic; the chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at ...
... Cadential: The bass steps or leaps into 5 degree, stays on 5 , then leaps to tonic; the chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at ...
Chapter Five: Baroque Art and Music
... • Use of two basic terms: piano (soft) and forte (loud) • Sudden contrasts of dynamics rather than gradual crescendos and diminuendos • Terraced dynamics: Shifting of volume suddenly from one level to another – Similar to contrasts between major and minor ...
... • Use of two basic terms: piano (soft) and forte (loud) • Sudden contrasts of dynamics rather than gradual crescendos and diminuendos • Terraced dynamics: Shifting of volume suddenly from one level to another – Similar to contrasts between major and minor ...
LISTEN!
... Melody or polyphony supported by solid harmonic scaffold–basso continuo “Polarized” texture results–strong bass in low register vs. clear, high melodic line(s) Continuo used in most Baroque works • Except those for one instrument ...
... Melody or polyphony supported by solid harmonic scaffold–basso continuo “Polarized” texture results–strong bass in low register vs. clear, high melodic line(s) Continuo used in most Baroque works • Except those for one instrument ...
Chapter 7 – Notes CHORDS A chord is a group of three or more
... Bass line with numbers written below or (sometimes above it). The numbers represent the intervals to be played above the bass to make chords. Chords in root position generally have no number, a 5 or a 5 and 3. (Intervals above the root) ...
... Bass line with numbers written below or (sometimes above it). The numbers represent the intervals to be played above the bass to make chords. Chords in root position generally have no number, a 5 or a 5 and 3. (Intervals above the root) ...
dynamics rhythm pitch articulation texture tempo
... Smooth or detached How many layers of sound you can hear Speed Sections of a piece (intro, chorus, A, B etc.) Tune – the main part (does is ascend/descend etc.) What instruments and voices are used (TIMBRE) Major key (happy) or Minor key (sad/serious) Accompaniment or backing notes (chords/bass line ...
... Smooth or detached How many layers of sound you can hear Speed Sections of a piece (intro, chorus, A, B etc.) Tune – the main part (does is ascend/descend etc.) What instruments and voices are used (TIMBRE) Major key (happy) or Minor key (sad/serious) Accompaniment or backing notes (chords/bass line ...
Tonal Harmony Chapter 3 Introduction to Triads and Seventh
... Root position Root position (7), first inversion ( 65 ) , second inversion ( 43 ), third inversion ( 42 ) Inversion Symbols and Figure Bass Analyzing music using numbers derived from the Baroque (1600-1750) system called figured bass or thoroughbass Keyboard player in an ensemble read from a ...
... Root position Root position (7), first inversion ( 65 ) , second inversion ( 43 ), third inversion ( 42 ) Inversion Symbols and Figure Bass Analyzing music using numbers derived from the Baroque (1600-1750) system called figured bass or thoroughbass Keyboard player in an ensemble read from a ...
Performance Tips
... From the final volume of Symphoniae sacrae (1650), this motet was published with a “Complementum” choir of from four to eight parts to be “included at one’s discretion” according to its title page. In contrast to Italian composers from the time, who often left the harmonic realization of the continu ...
... From the final volume of Symphoniae sacrae (1650), this motet was published with a “Complementum” choir of from four to eight parts to be “included at one’s discretion” according to its title page. In contrast to Italian composers from the time, who often left the harmonic realization of the continu ...
Figured Bass Basic Concepts
... analysis. The practice of using Roman numerals to track the harmony can accommodate non-diatonic chords tones using the following conventions: a. flat or sharp in front of a figure lowers or raises the diatonic pitch by a half step. b. slash through the figure raises the pitch, just like a sharp. c. ...
... analysis. The practice of using Roman numerals to track the harmony can accommodate non-diatonic chords tones using the following conventions: a. flat or sharp in front of a figure lowers or raises the diatonic pitch by a half step. b. slash through the figure raises the pitch, just like a sharp. c. ...
CHAPTER 25
... theorbo—a large lute-like instrument with a full octave of additional bass strings (Fig. 29-4). Later, a low melody instrument—such as the viola da gamba, cello, or bassoon— came to reinforce the bass line, while a chord-producing instrument—organ, harpsichord, theorbo, lute, or guitar— played the h ...
... theorbo—a large lute-like instrument with a full octave of additional bass strings (Fig. 29-4). Later, a low melody instrument—such as the viola da gamba, cello, or bassoon— came to reinforce the bass line, while a chord-producing instrument—organ, harpsichord, theorbo, lute, or guitar— played the h ...
Second Inversion Triads
... Instead, they depend on nearby chords for their harmonic function. They almost always occur as one of four types: cadential, passing, arpeggio, or pedal (forming the acronym C-PAP, like a C-PAP breathing machine). While rare exceptions and variations do occur, these are the usual patterns. All types ...
... Instead, they depend on nearby chords for their harmonic function. They almost always occur as one of four types: cadential, passing, arpeggio, or pedal (forming the acronym C-PAP, like a C-PAP breathing machine). While rare exceptions and variations do occur, these are the usual patterns. All types ...
Baroque era - John Mindeman
... Oratorio - A large scale musical work for voices and orchestra telling a story (usually ...
... Oratorio - A large scale musical work for voices and orchestra telling a story (usually ...
Intro to Figured Bass
... The bass is the foundation of harmonic structure. Figured bass symbols are used to indicate the bass positions of chords. The practice is derived from Baroque keyboard music where the player read from a part consisting of a bass line and some numerical symbols that indicated what chord was to be pla ...
... The bass is the foundation of harmonic structure. Figured bass symbols are used to indicate the bass positions of chords. The practice is derived from Baroque keyboard music where the player read from a part consisting of a bass line and some numerical symbols that indicated what chord was to be pla ...
Intro to Figured Bass
... intervals above the given bass notes. The bass is played by the left hand, and chords are built up in the right from the intervals supplied. The following numbers are employed: 2 3 4 5 6 7 8 9. Up to 3 numbers are stacked vertically to indicate simultaneous intervals. Intervals in figured bass are w ...
... intervals above the given bass notes. The bass is played by the left hand, and chords are built up in the right from the intervals supplied. The following numbers are employed: 2 3 4 5 6 7 8 9. Up to 3 numbers are stacked vertically to indicate simultaneous intervals. Intervals in figured bass are w ...
File
... Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
... Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
The 7-4-2 chord in early Italian recitative
... The second form is confusing because it normally refers to a bass suspension, in which the upper voices remain stationary while the bass descends a step. The third form is the most confusing because it suggests the very common 7 th used in a 7-6 progression or the cadential “dominant” seventh used i ...
... The second form is confusing because it normally refers to a bass suspension, in which the upper voices remain stationary while the bass descends a step. The third form is the most confusing because it suggests the very common 7 th used in a 7-6 progression or the cadential “dominant” seventh used i ...
Four-Part Harmony
... Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three notes). The soprano part often carries the most conspicuous melody, but each part really follows its own melodic path. However, any of the parts can be used to make non chord ...
... Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three notes). The soprano part often carries the most conspicuous melody, but each part really follows its own melodic path. However, any of the parts can be used to make non chord ...
Inversions
... still a factor. Majors are inverted to minors and vis versa. Perfects are preserved when inverting, but this is the only exception. • A major 6th becomes a minor 3rd . 6-7-8-9-1-2-3. ...
... still a factor. Majors are inverted to minors and vis versa. Perfects are preserved when inverting, but this is the only exception. • A major 6th becomes a minor 3rd . 6-7-8-9-1-2-3. ...
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.