Foulk - Western Michigan University
... collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
... collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
1 Basic Tuning for the Autoharp Introduction Setting The Foundation
... expensive tuner with an instrument reading and graduated in tuning units called "cents". Refer to Alternate Standards. Tuning by ear With any method available, sound a reference pitch that is considered in tune for any note in the foundation octave. The pitch pipe will always provide a complete set ...
... expensive tuner with an instrument reading and graduated in tuning units called "cents". Refer to Alternate Standards. Tuning by ear With any method available, sound a reference pitch that is considered in tune for any note in the foundation octave. The pitch pipe will always provide a complete set ...
OTHER SCALES CHROMATIC SCALE The scale consisting of all
... (1547). Locrian mode was only a theoretical possibility and not used because of the tritone between the final (tonic) and the fifth. The Church modes served as the tonal basis of Western music until about 1600, after which time the major and minor scales were used more extensively. Content: Modes ma ...
... (1547). Locrian mode was only a theoretical possibility and not used because of the tritone between the final (tonic) and the fifth. The Church modes served as the tonal basis of Western music until about 1600, after which time the major and minor scales were used more extensively. Content: Modes ma ...
Scales, Modes, and Chord/Cluster Concepts for 20th
... Whole-step/half-step Model Lydian Minor (F)-F G A B C Db Eb F half steps are between 4-5 and 5-6 used in jazz F G A B C D E F (compare to Lydian): Whole-Tone Scale C D E F# G# A# B# (=C) All whole steps (only 7 notes in an octave) Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alterna ...
... Whole-step/half-step Model Lydian Minor (F)-F G A B C Db Eb F half steps are between 4-5 and 5-6 used in jazz F G A B C D E F (compare to Lydian): Whole-Tone Scale C D E F# G# A# B# (=C) All whole steps (only 7 notes in an octave) Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alterna ...
The Great Highland Bagpipe Plays in WHAT Key?
... • If the interval between two notes is a ratio of small integers, such as 2/1, 3/2, or 4/3, they sound good together — they are consonant rather than dissonant • The twelve-tone equal-tempered scale is the smallest equal-tempered scale that contains all seven of the basic consonant intervals to a go ...
... • If the interval between two notes is a ratio of small integers, such as 2/1, 3/2, or 4/3, they sound good together — they are consonant rather than dissonant • The twelve-tone equal-tempered scale is the smallest equal-tempered scale that contains all seven of the basic consonant intervals to a go ...
Diatonic Harmony Primer - John Ely`s Steel Guitar Web
... Roman numeral equivalent of the degree number upon which the triad is built. Lower case numerals are used for the minor triads and the diminished triad (leading tone). Chord Inversions The triads shown in diagram 2 are in root position, which means that the root of the chord is on the bottom. You ca ...
... Roman numeral equivalent of the degree number upon which the triad is built. Lower case numerals are used for the minor triads and the diminished triad (leading tone). Chord Inversions The triads shown in diagram 2 are in root position, which means that the root of the chord is on the bottom. You ca ...
MUSICAL ACOUSTICS Tutorial 2: Solution Guide
... A trumpet player creates a Sound Pressure Level of 70 dB in a concert hall. To what musical dynamic marking does this SPL correspond? How would the SPL value and the dynamic level change if (a) a second trumpeter joined in with the same sound power as the first; (b) ten trumpeters played in unison, ...
... A trumpet player creates a Sound Pressure Level of 70 dB in a concert hall. To what musical dynamic marking does this SPL correspond? How would the SPL value and the dynamic level change if (a) a second trumpeter joined in with the same sound power as the first; (b) ten trumpeters played in unison, ...
INTERVALS INTERVAL size and quality
... These tones have the tendency to resolve to tonic and dominant and so this interval is also a key-defining interval. ...
... These tones have the tendency to resolve to tonic and dominant and so this interval is also a key-defining interval. ...
notes and scales
... The keyboard is a good help to see the distance between notes. The smallest distance between keys is one semitone. So, between the white keys of C (do) and D (re) you have one tone because you have another key between both keys. This black key is the sharp C or flat D (therefore, you could call one ...
... The keyboard is a good help to see the distance between notes. The smallest distance between keys is one semitone. So, between the white keys of C (do) and D (re) you have one tone because you have another key between both keys. This black key is the sharp C or flat D (therefore, you could call one ...
Jerome of Moravia on the construction, range, and tuning
... actually play all the notes of the Guidonian scale (except the high e”)? For what kind of music would tunings one and three be especially good, and for what kind of music would tunings one and three not be as useful? Related to this, why would a medieval instrumentalist want to tune two strings to t ...
... actually play all the notes of the Guidonian scale (except the high e”)? For what kind of music would tunings one and three be especially good, and for what kind of music would tunings one and three not be as useful? Related to this, why would a medieval instrumentalist want to tune two strings to t ...
Music Glossary
... texture – the character of music that results from the ways in which the vertical and horizontal elements are combined theme— a complete and self-contained melody tie – a curved line joining two successive notes of the same pitch indicating that the second note is a prolongation of the first and not ...
... texture – the character of music that results from the ways in which the vertical and horizontal elements are combined theme— a complete and self-contained melody tie – a curved line joining two successive notes of the same pitch indicating that the second note is a prolongation of the first and not ...
Text S2.
... similarities. While implied fundamentals can readily be heard for chords of harmonically related tones [2,3], they are not typically perceived in harmonically disparate chords (such as major or minor seventh dyads), or in broken chords where the notes are sounded sequentially with a time interval gr ...
... similarities. While implied fundamentals can readily be heard for chords of harmonically related tones [2,3], they are not typically perceived in harmonically disparate chords (such as major or minor seventh dyads), or in broken chords where the notes are sounded sequentially with a time interval gr ...
Lec2
... – Upper note seems to duplicate lower note, though its pitch is higher – Very smooth blend derives from overtone series; octave is the first overtone – Men and women singing a tune together normally sing in octaves ...
... – Upper note seems to duplicate lower note, though its pitch is higher – Very smooth blend derives from overtone series; octave is the first overtone – Men and women singing a tune together normally sing in octaves ...
Choir 9 -12 - Vocabulary J - Fleetwoodpark
... 'Movable Do system' means that the root of any given scale becomes 'Do' o For Example, in C major the note c is Do, in F major f is Do, etc. The advantage of applying movable Do is that we learn musical relationships independent of the key we are in. o For example, Do - Mi will always be a major ...
... 'Movable Do system' means that the root of any given scale becomes 'Do' o For Example, in C major the note c is Do, in F major f is Do, etc. The advantage of applying movable Do is that we learn musical relationships independent of the key we are in. o For example, Do - Mi will always be a major ...
paper - Personal Web Pages
... here is unadjusted for equal temperament, as though tuned from A 440 using only the just fifths produced by harmonics on the strings of a contrabass; therefore, it is 41.25 Hz. ...
... here is unadjusted for equal temperament, as though tuned from A 440 using only the just fifths produced by harmonics on the strings of a contrabass; therefore, it is 41.25 Hz. ...
Scales, Modes, and Chord/Cluster Concepts for 20th
... Whole-step/half-step Model F G A B C Db Eb F half steps are between 4-5 and 5-6 Lydian Minor (F)-F G A B C D E F used in jazz (compare to Lydian): C D E F# G# A# B# (=C) All whole steps (only 7 notes in an octave) Whole-Tone Scale Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alterna ...
... Whole-step/half-step Model F G A B C Db Eb F half steps are between 4-5 and 5-6 Lydian Minor (F)-F G A B C D E F used in jazz (compare to Lydian): C D E F# G# A# B# (=C) All whole steps (only 7 notes in an octave) Whole-Tone Scale Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alterna ...
Tonal Harmony Chapter 1 Elements of Pitch
... Measurement of the distance in pitch between two notes A harmonic interval results when the notes are performed at the same time A melodic interval occurs when the notes are played successively The method of measuring for both type of intervals are the same Two parts to any interval name: ...
... Measurement of the distance in pitch between two notes A harmonic interval results when the notes are performed at the same time A melodic interval occurs when the notes are played successively The method of measuring for both type of intervals are the same Two parts to any interval name: ...
The Diatonic Scale - Metropolitan Cantor Institute
... frequencies are in the ratio of 2:1 – they “sound” like the same pitch to most listeners. We call the pitch difference between two such notes an octave. That is why, for example, a man, a woman, and a small child can all sing the same melody together – they are singing at intervals of an octave. Cre ...
... frequencies are in the ratio of 2:1 – they “sound” like the same pitch to most listeners. We call the pitch difference between two such notes an octave. That is why, for example, a man, a woman, and a small child can all sing the same melody together – they are singing at intervals of an octave. Cre ...
Music 11, 7/10/06 Scales/Intervals We already know half steps and
... Suppose we take the two notes that make up a second, and “flip” them over—that is, lets put the lower note up an octave, so that it lies above the other note. The distance between E-D is now D-E. We say that the “inversion” of E-D is D-E, and the interval that results is not a second, but instead a ...
... Suppose we take the two notes that make up a second, and “flip” them over—that is, lets put the lower note up an octave, so that it lies above the other note. The distance between E-D is now D-E. We say that the “inversion” of E-D is D-E, and the interval that results is not a second, but instead a ...
Music Notation
... at any pitch, ascending by the interval of an equal tempered perfect fifth, one goes through all twelved tones and returns to the starting pitch. ...
... at any pitch, ascending by the interval of an equal tempered perfect fifth, one goes through all twelved tones and returns to the starting pitch. ...
musicianship project - 2011
... are also perfect 5ths intervals. The first three notes in the soprano and alto voice are major 3rd intervals, the first two notes skip. The fourth note in the soprano and alto voice in m.40 is a major 6th. In measure 41 the tenor and alto notes move up consecutively in eighth notes. The notes in the ...
... are also perfect 5ths intervals. The first three notes in the soprano and alto voice are major 3rd intervals, the first two notes skip. The fourth note in the soprano and alto voice in m.40 is a major 6th. In measure 41 the tenor and alto notes move up consecutively in eighth notes. The notes in the ...
1146375GRADE 4 MUSIC UEQ and CEQ
... What is the difference between rhythm and beat? What are the values of quarter, eighth, sixteenth notes, dotted quarter note, half notes, and quarter rests? What are pitch and melody? What are the different ways we can use our voices? What is meter? What is the pentatonic scale? What are phrases in ...
... What is the difference between rhythm and beat? What are the values of quarter, eighth, sixteenth notes, dotted quarter note, half notes, and quarter rests? What are pitch and melody? What are the different ways we can use our voices? What is meter? What is the pentatonic scale? What are phrases in ...
Intervals 2
... is necessary to take into account the resolution, or even expected resolution. As you can see, the discussion of dissonance and consonance is rather philosophical. A friend of mine uses an analogy to explain this to beginning music students: Most popular movies have a form of dissonance and consonan ...
... is necessary to take into account the resolution, or even expected resolution. As you can see, the discussion of dissonance and consonance is rather philosophical. A friend of mine uses an analogy to explain this to beginning music students: Most popular movies have a form of dissonance and consonan ...
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.