MUS 1110 Elementary Harmony
... MUS 1110 Elementary Harmony, Counterpoint, and Ethnic Music Writing Description: This course is designed for students who have a background in music as one of the subjects offered for the Uganda Advanced Certificate of Education (UACE) or the equivalent or a good diploma certificate in which music w ...
... MUS 1110 Elementary Harmony, Counterpoint, and Ethnic Music Writing Description: This course is designed for students who have a background in music as one of the subjects offered for the Uganda Advanced Certificate of Education (UACE) or the equivalent or a good diploma certificate in which music w ...
MUS 1110: Elementary Harmony, Counterpoint, and Ethnic Music
... Guidelines for Ordering Ethnic Instruments on A Score Learning Outcomes i. Ability to use triads in both root position and first inversion, and even effect modulation in order to musically harmonize a given soprano or bass line in four parts ii. Ability to arrange a given chorale/hymn for a string o ...
... Guidelines for Ordering Ethnic Instruments on A Score Learning Outcomes i. Ability to use triads in both root position and first inversion, and even effect modulation in order to musically harmonize a given soprano or bass line in four parts ii. Ability to arrange a given chorale/hymn for a string o ...
Forgotten In Time -The Ancient Solfeggio Frequencies
... I was first introduced to DNA in 1988 when I was going through a transitional period, during which I felt that I had come to the end of everything that I believed. A tape was given to me of a gentleman speaking in an accent, (which I thought at the time, was rather boring), and I didn’t understand w ...
... I was first introduced to DNA in 1988 when I was going through a transitional period, during which I felt that I had come to the end of everything that I believed. A tape was given to me of a gentleman speaking in an accent, (which I thought at the time, was rather boring), and I didn’t understand w ...
Music Ecademy Music Theory Curriculum CONTENTS
... Designed for younger learners to introduce them to music theory slowly and clearly. ...
... Designed for younger learners to introduce them to music theory slowly and clearly. ...
Music Dictionary - Nitschmann Middle School Instrumental Music
... A rapid alternation between the specified note and the next higher note (according to key signature) within its duration ...
... A rapid alternation between the specified note and the next higher note (according to key signature) within its duration ...
ATTAINMENT TARGET
... a) play with correct posture & grip b) use an appropriate embouchure c) start & sustain notes co-ordinating hand & tongue d) assemble & show care of the instrument ...
... a) play with correct posture & grip b) use an appropriate embouchure c) start & sustain notes co-ordinating hand & tongue d) assemble & show care of the instrument ...
Name
... F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A major arpeggio is AC#EA; F# minor arpeggio is F#AC#F# ...
... F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A major arpeggio is AC#EA; F# minor arpeggio is F#AC#F# ...
Brief background The tonal hierarchy The first probe tone study
... a minor key is considered close to the major key that has the same scale pitches (but different tonic) as the natural minor scale, and the two are called the "relative" major and minor of each other a minor key is considered closely related to the major key with which it shares a tonic. That is, ...
... a minor key is considered close to the major key that has the same scale pitches (but different tonic) as the natural minor scale, and the two are called the "relative" major and minor of each other a minor key is considered closely related to the major key with which it shares a tonic. That is, ...
Week 1-Review
... The keyboard is divided by sets of two and three black keys. The white key immediate to the left of the set of two black keys is pitch class C. You can count from C (forward to the right, backward to the left) in the alphabet, giving each white key the next letter name. Black keys stand for the “fla ...
... The keyboard is divided by sets of two and three black keys. The white key immediate to the left of the set of two black keys is pitch class C. You can count from C (forward to the right, backward to the left) in the alphabet, giving each white key the next letter name. Black keys stand for the “fla ...
Playing the Piano
... between two tones played at the same time. There are several ways of classifying them. One of them is known as a major interval, and it is determined by measuring a major second, third, sixth or seventh, by matching the second, third, sixth, or seventh notes on the major scale, and counting half st ...
... between two tones played at the same time. There are several ways of classifying them. One of them is known as a major interval, and it is determined by measuring a major second, third, sixth or seventh, by matching the second, third, sixth, or seventh notes on the major scale, and counting half st ...
Strings Long term Plan
... Sing, play and recognise open strings and the pitch patterns of a major scale Recognise notes from chart notation (introducing standard notation as appropriate) Introduce 1st position, with attention to left hand shape ...
... Sing, play and recognise open strings and the pitch patterns of a major scale Recognise notes from chart notation (introducing standard notation as appropriate) Introduce 1st position, with attention to left hand shape ...
isomorphic tessellations for musical keyboards
... are the octave, the dominant triad, and the dominant seventh. The octave is an interval between two musical notes where one of which has twice the pitch of the other. They are perceived to be the same note. It is usually considered the most consonant harmony, besides perfect unison. The dominant tri ...
... are the octave, the dominant triad, and the dominant seventh. The octave is an interval between two musical notes where one of which has twice the pitch of the other. They are perceived to be the same note. It is usually considered the most consonant harmony, besides perfect unison. The dominant tri ...
playing giant steps with one scale
... As Mark Levine has pointed out (in The Jazz Piano Book and The Jazz Theory Book), this means that it’s possible to play the tune using just three pentatonic scales – F#, Bb and D major pentatonics, which fit all the chords from the II-V-Is in B, Eb and G respectively. To use this approach, all you h ...
... As Mark Levine has pointed out (in The Jazz Piano Book and The Jazz Theory Book), this means that it’s possible to play the tune using just three pentatonic scales – F#, Bb and D major pentatonics, which fit all the chords from the II-V-Is in B, Eb and G respectively. To use this approach, all you h ...
Mathematical Music Theory 2 Grade level: 7-12 Math - SUPER-M
... 5. Adding what number is the same as subtracting 1? What about 2? What about 3? What about 4? In modular arithmetic we do not even consider subtraction as an operation because it is superfluous. Subtraction can always be modeled by addition of the appropriate number. In particular, if we are working ...
... 5. Adding what number is the same as subtracting 1? What about 2? What about 3? What about 4? In modular arithmetic we do not even consider subtraction as an operation because it is superfluous. Subtraction can always be modeled by addition of the appropriate number. In particular, if we are working ...
Pitch vs Frequency There is a relationship between pitch and
... There is a relationship between pitch and frequency. The faster the vibration of something producing a sound, the higher the pitch we tend to perceive that sound to be. This section will discuss this relationship. Frequencies come in all values. between any two frequencies, no matter how close toget ...
... There is a relationship between pitch and frequency. The faster the vibration of something producing a sound, the higher the pitch we tend to perceive that sound to be. This section will discuss this relationship. Frequencies come in all values. between any two frequencies, no matter how close toget ...
pdf - Santa Fe Institute
... “wolf-fifth”) differs from that between the 1st and 5th or the 3rd and 7th scale degrees.11 Central to this phenomenon is that intervals in this scale are built on more than one prime: in this case, the primes 2, 3 and 5. A tuning system such as JI can’t have pure intervals involving different prime ...
... “wolf-fifth”) differs from that between the 1st and 5th or the 3rd and 7th scale degrees.11 Central to this phenomenon is that intervals in this scale are built on more than one prime: in this case, the primes 2, 3 and 5. A tuning system such as JI can’t have pure intervals involving different prime ...
Musical system of ancient Greece
... of the internal divisions of the tetrachords (see below for more detail) such that méson not consist of three whole tone steps (b-a-g-f), an interstitial note, the diázeuxis ('dividing') was introduced between Paramése and Mése. The tetrachord diezeugménon is the 'divided'. To bridge this inconsiste ...
... of the internal divisions of the tetrachords (see below for more detail) such that méson not consist of three whole tone steps (b-a-g-f), an interstitial note, the diázeuxis ('dividing') was introduced between Paramése and Mése. The tetrachord diezeugménon is the 'divided'. To bridge this inconsiste ...
La Monte Young`s The Well-Tuned Piano Kyle Gann Perspectives of
... on Eb as 111, a choice that evolved from Young's saxophone improvisations. His favorite scale for improvising was G Dorian, in which he developed extended material on the subdominant seventh chord on C concert Eb-and that material grew into the tuning of the WTI! The term "tonic," however, will not ...
... on Eb as 111, a choice that evolved from Young's saxophone improvisations. His favorite scale for improvising was G Dorian, in which he developed extended material on the subdominant seventh chord on C concert Eb-and that material grew into the tuning of the WTI! The term "tonic," however, will not ...
Pitch
... • Whistled speech, e.g. Mexican tone language Chinantec. Uses a combina4on of tone and stress dis4nc4ons to communicate messages with minimum ambiguity. Probably doesn’t use a fixed tuning scheme. • Krar ...
... • Whistled speech, e.g. Mexican tone language Chinantec. Uses a combina4on of tone and stress dis4nc4ons to communicate messages with minimum ambiguity. Probably doesn’t use a fixed tuning scheme. • Krar ...
Scale Degrees - Co
... forms of the minor scales but that will be a different lesson. Just note that the 7 degree scale name in minor scales is Subtonic. The Roman Numerals Scales Degrees are also described using Roman Numerals. While they do range from 1-7, the Roman Numerals serve another purpose. Nathan described in h ...
... forms of the minor scales but that will be a different lesson. Just note that the 7 degree scale name in minor scales is Subtonic. The Roman Numerals Scales Degrees are also described using Roman Numerals. While they do range from 1-7, the Roman Numerals serve another purpose. Nathan described in h ...
7 PITCH AND TIMBRE
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
Just intonation
In music, just intonation (sometimes abbreviated as JI) or pure intonation is any musical tuning in which the frequencies of notes are related by ratios of small whole numbers. Any interval tuned in this way is called a pure or just interval. The two notes in any just interval are members of the same harmonic series. Frequency ratios involving large integers such as 1024:927 are not generally said to be justly tuned. ""Just intonation is the tuning system of the later ancient Greek modes as codified by Ptolemy; it was the aesthetic ideal of the Renaissance theorists; and it is the tuning practice of a great many musical cultures worldwide, both ancient and modern.""Just intonation can be contrasted and compared with equal temperament, which dominates Western instruments of fixed pitch (e.g., piano or organ) and default MIDI tuning on electronic keyboards. In equal temperament, all intervals are defined as multiples of the same basic interval, or more precisely, the intervals are ratios which are integer powers of the smallest step ratio, so two notes separated by the same number of steps always have exactly the same frequency ratio. However, except for doubling of frequencies (one or more octaves), no other intervals are exact ratios of small integers. Each just interval differs a different amount from its analogous, equally tempered interval.Justly tuned intervals can be written as either ratios, with a colon (for example, 3:2), or as fractions, with a solidus (3 ⁄ 2). For example, two tones, one at 300 Hertz (cycles per second), and the other at 200 hertz are both multiples of 100 Hz and as such members of the harmonic series built on 100 Hz. Thus 3/2, known as a perfect fifth, may be defined as the musical interval (the ratio) between the second and third harmonics of any fundamental pitch.