Word - asboa
... A sequence of eight notes arranged in the following specific pattern of whole and half steps, beginning and ending with the tonic: tonic, whole step, whole step, half step, whole step, whole step, whole step, half step to tonic European music written during the Middle Ages The same as the natural mi ...
... A sequence of eight notes arranged in the following specific pattern of whole and half steps, beginning and ending with the tonic: tonic, whole step, whole step, half step, whole step, whole step, whole step, half step to tonic European music written during the Middle Ages The same as the natural mi ...
Kamavardhini and the Blues scale – just one step and one note
... Since the ascend and descend notes are the same, we will examine just the ascend. ...
... Since the ascend and descend notes are the same, we will examine just the ascend. ...
Lecture4_FA16_greeks_solutions
... 4. All right angles are congruent. 5. If two lines are drawn which intersect a third in such a way that the sum of the inner angles on one side is less than two right angles, then the two lines inevitably must intersect each other on that side if extended far enough. This postulate is equivalent to ...
... 4. All right angles are congruent. 5. If two lines are drawn which intersect a third in such a way that the sum of the inner angles on one side is less than two right angles, then the two lines inevitably must intersect each other on that side if extended far enough. This postulate is equivalent to ...
Artistic Song Leading (Lesson 7)
... The major scale consists of seven different pitches. There are half steps between the third and fourth and seventh and eighth scale degrees; whole steps exist between all other steps. Below is the C major scale. The pattern of whole and half steps is the same for all major scales. The Shape of the n ...
... The major scale consists of seven different pitches. There are half steps between the third and fourth and seventh and eighth scale degrees; whole steps exist between all other steps. Below is the C major scale. The pattern of whole and half steps is the same for all major scales. The Shape of the n ...
music
... • Ancient Greek theorists and composers thought not so much in terms of octaves, as in terms of sequences of fourths, which they called "tetrachords". ...
... • Ancient Greek theorists and composers thought not so much in terms of octaves, as in terms of sequences of fourths, which they called "tetrachords". ...
music
... • Ancient Greek theorists and composers thought not so much in terms of octaves, as in terms of sequences of fourths, which they called "tetrachords". ...
... • Ancient Greek theorists and composers thought not so much in terms of octaves, as in terms of sequences of fourths, which they called "tetrachords". ...
The Overtone Series
... follows the overtone series. In other words, low pitches are separated by wider gaps than higher pitches. This is because the lower pitches have more perceptible overtones (within hearing range). A low pitch triad will therefore sound muddy (low triad on the piano). ...
... follows the overtone series. In other words, low pitches are separated by wider gaps than higher pitches. This is because the lower pitches have more perceptible overtones (within hearing range). A low pitch triad will therefore sound muddy (low triad on the piano). ...
Perception of musical consonance and dissonance: an outcome of
... major sixth major third minor third minor sixth major second major seventh minor seventh minor second tritone ...
... major sixth major third minor third minor sixth major second major seventh minor seventh minor second tritone ...
Seeing Music, Hearing Waves - Illuminations
... Musical pitches (notes) are determined by their frequency, which is measured in vibrations per second, or Hertz (Hz). The notes on a piano keyboard form a chromatic scale. A chromatic scale divides the octave into its semitones. There are twelve semitones, or half steps, to an octave in the chromati ...
... Musical pitches (notes) are determined by their frequency, which is measured in vibrations per second, or Hertz (Hz). The notes on a piano keyboard form a chromatic scale. A chromatic scale divides the octave into its semitones. There are twelve semitones, or half steps, to an octave in the chromati ...
Music of Nicolas Slonimsky
... left hand in another, in different rhythms. As a diversion, a dodecaphonic pattern consisting of disjointed intervals is romantically harmonized in seventh-chords. There follows a dodecaphonic series of two mutually exclusive hexachords. Examples of combinational harmonies derived from the scale of ...
... left hand in another, in different rhythms. As a diversion, a dodecaphonic pattern consisting of disjointed intervals is romantically harmonized in seventh-chords. There follows a dodecaphonic series of two mutually exclusive hexachords. Examples of combinational harmonies derived from the scale of ...
Pentatonic Moods
... dreaminess that softens the soul and seems to contribute to a feeling of being in harmony with the wider world whether in sorrow or in joy. Songs from these islands use but seven notes, such as D,E-G,A,B-D,E. music on more complex scales typically uses semitone intervals to express sorrow, pain or c ...
... dreaminess that softens the soul and seems to contribute to a feeling of being in harmony with the wider world whether in sorrow or in joy. Songs from these islands use but seven notes, such as D,E-G,A,B-D,E. music on more complex scales typically uses semitone intervals to express sorrow, pain or c ...
image by Hans-Christoph Steiner based on Grey, JM 1979, JASA
... Four complex tones in which all partials have been removed by filtering (Butler Example 2.5) One is a French horn, one is a violin, one is a pure sine, one is a piano (but out of order) ...
... Four complex tones in which all partials have been removed by filtering (Butler Example 2.5) One is a French horn, one is a violin, one is a pure sine, one is a piano (but out of order) ...
ANP_Paper3_MathofMusic
... Notes with the symbol “#” are called “sharp” while notes with the symbol “b” are called “flat”. A# and Bb have the same frequency, as do the other notes with two different names. (1) There are many different types of twelve-tone temperaments, or methods by which an octave can be split into twelve no ...
... Notes with the symbol “#” are called “sharp” while notes with the symbol “b” are called “flat”. A# and Bb have the same frequency, as do the other notes with two different names. (1) There are many different types of twelve-tone temperaments, or methods by which an octave can be split into twelve no ...
Benward Chapter 6
... center (tonic) is always the first and last note of the scale in the well-known modern scales, major and minor. ...
... center (tonic) is always the first and last note of the scale in the well-known modern scales, major and minor. ...
accompanying Powerpoint presentation
... Evocations, and Organum. It is, in each case, almost 9, which means that at every moment in the process of composing these melodic lines there were only four pitch-classes remaining to chose from for the next tone — and not even all of these four would necessarily satisfy certain other conditions, s ...
... Evocations, and Organum. It is, in each case, almost 9, which means that at every moment in the process of composing these melodic lines there were only four pitch-classes remaining to chose from for the next tone — and not even all of these four would necessarily satisfy certain other conditions, s ...
Hybrid Thinking in Meloharmony
... temperaments, the fifths were just and the thirds were imperfect consonances, since they were derived from superimposed fifths. (However, as early as the 1300s, Englishmen such as Walter Odington addressed this weakness, and argued that thirds be considered consonant). During the Renaissance (Pietro ...
... temperaments, the fifths were just and the thirds were imperfect consonances, since they were derived from superimposed fifths. (However, as early as the 1300s, Englishmen such as Walter Odington addressed this weakness, and argued that thirds be considered consonant). During the Renaissance (Pietro ...
SINGING AS SPIRITUAL FOOD – THE KODALY METHOD
... two books with these titles). Here are the key themes: The use of the mother-tongue, one’s own musical heritage. Music should be of good quality. Music is for everyone. Music education through singing and doing. A child-development approach to sequence, introducing skills at the time the chi ...
... two books with these titles). Here are the key themes: The use of the mother-tongue, one’s own musical heritage. Music should be of good quality. Music is for everyone. Music education through singing and doing. A child-development approach to sequence, introducing skills at the time the chi ...
Inversion, Retrograde, Retrograde Inversion
... To get the retrograde, list the prime form backwards, starting with the last pitch class and reading right to left. To get the retrograde inversion, list the inversion form backwards, reading the notes from right to left. To combine inversion or transposition with retrograde, do each operation one a ...
... To get the retrograde, list the prime form backwards, starting with the last pitch class and reading right to left. To get the retrograde inversion, list the inversion form backwards, reading the notes from right to left. To combine inversion or transposition with retrograde, do each operation one a ...
Piano Study in Mixed Accents
... same note is repeated in a melody before enough notes have intervened to remove the impression of the original note, there is a sense of tautology, because the melody should have proceeded to a fresh note instead of to a note already in the consciousness of the listener. Therefore Ruggles writes at ...
... same note is repeated in a melody before enough notes have intervened to remove the impression of the original note, there is a sense of tautology, because the melody should have proceeded to a fresh note instead of to a note already in the consciousness of the listener. Therefore Ruggles writes at ...
Tone and Voice: A Derivation of the Rules of Voice
... [D19.] Avoid Disjunct Approach to Fused Intervals Rule. If it is not possible to approach unisons, octaves and fifths by retaining the same pitch (oblique motion), step motion should be used. [D20.] Avoid Semblant Approach between Fused Intervals Rule. Avoid similar pitch motion in which the voices ...
... [D19.] Avoid Disjunct Approach to Fused Intervals Rule. If it is not possible to approach unisons, octaves and fifths by retaining the same pitch (oblique motion), step motion should be used. [D20.] Avoid Semblant Approach between Fused Intervals Rule. Avoid similar pitch motion in which the voices ...
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.