Musical Scales and Tonality - University of Toronto Scarborough
... • Musical cultures make use of variation in pitch • Use tones of low to high frequency, and combine them in various ways • Pitch and frequency are continuous scales • Yet musical cultures use discrete pitches • Use of discrete pitches, as opposed to continuously varying pitches, a universal • Althou ...
... • Musical cultures make use of variation in pitch • Use tones of low to high frequency, and combine them in various ways • Pitch and frequency are continuous scales • Yet musical cultures use discrete pitches • Use of discrete pitches, as opposed to continuously varying pitches, a universal • Althou ...
The Emergence of the Idea of Irrationality In Renaissance
... fifth, the fourth and the unison or any compound of one of these intervals. The beginning of the Ars Nova in the fourteenth century brought about a change in musical attention from melody to counterpoint and harmony, as a consequence the introduction of imperfect consonances of thirds and sixths in ...
... fifth, the fourth and the unison or any compound of one of these intervals. The beginning of the Ars Nova in the fourteenth century brought about a change in musical attention from melody to counterpoint and harmony, as a consequence the introduction of imperfect consonances of thirds and sixths in ...
Babbitt`s Theorem - Theorem of the Day
... A little amateur musical analysis is applied here to two of the real fugues from Bach’s Well-tempered Clavier (the ‘48’), that is, the fugues in which the subject is answered by an exact transposition by 7 pitch values (semitones) up, pitch class-equivalent to 12 − 7 = 5 down. The interval class vec ...
... A little amateur musical analysis is applied here to two of the real fugues from Bach’s Well-tempered Clavier (the ‘48’), that is, the fugues in which the subject is answered by an exact transposition by 7 pitch values (semitones) up, pitch class-equivalent to 12 − 7 = 5 down. The interval class vec ...
Intro to Music Theory - Hamden High School Music Program
... The elements of sound that are manipulated in music include pitch, rhythm, dynamics, and timbre. 1. Pitch can be generally defined as the high or low quality of a sound, where high refers to sounds in the upper frequency range (such as a flute), and low refers to sounds in the lower frequency range ...
... The elements of sound that are manipulated in music include pitch, rhythm, dynamics, and timbre. 1. Pitch can be generally defined as the high or low quality of a sound, where high refers to sounds in the upper frequency range (such as a flute), and low refers to sounds in the lower frequency range ...
20th Cent Definitions
... A higher or lower interval where the pitch seems to be duplicated The incessant repetition of a line with varied accompaniment When two or more melodies move by the same interval (having the same distance between them) Scale made up of five different tones, used in folk music and music of the far ea ...
... A higher or lower interval where the pitch seems to be duplicated The incessant repetition of a line with varied accompaniment When two or more melodies move by the same interval (having the same distance between them) Scale made up of five different tones, used in folk music and music of the far ea ...
Sample Grade 4 Theory Paper
... Write a one-octave G natural minor scale in minims going up then down. Use a key signature. ...
... Write a one-octave G natural minor scale in minims going up then down. Use a key signature. ...
The Tetrachord (Ancient)
... it should contain; second, the fifths and thirds can not be completely Just at the same time, but fourths and fifths were chosen to be pure because the vertical sonorities of the thirds and sixths were not yet important in harmony. The Just fifth tuning practice must have been centuries old when Pyt ...
... it should contain; second, the fifths and thirds can not be completely Just at the same time, but fourths and fifths were chosen to be pure because the vertical sonorities of the thirds and sixths were not yet important in harmony. The Just fifth tuning practice must have been centuries old when Pyt ...
Different scales
... • This scale is what it says it is i.e. every step from one note to the next is a whole tone (not a semitone) • This creates a scale of 6 pitches • This music sounds airy, flimsy, fluffy and weightless • Debussy, a French composer used a lot of whole-tonescales in his music • Name the whole tones st ...
... • This scale is what it says it is i.e. every step from one note to the next is a whole tone (not a semitone) • This creates a scale of 6 pitches • This music sounds airy, flimsy, fluffy and weightless • Debussy, a French composer used a lot of whole-tonescales in his music • Name the whole tones st ...
Music 181: Structure of the Major Scale
... Half Step; Half Tone; Semitone: Used generically for any interval that can be represented by two adjacent keys on the piano. Whole Tone; Whole Step: Used generically for any interval made up of two half steps. Whole tones are separated by one key on piano. ...
... Half Step; Half Tone; Semitone: Used generically for any interval that can be represented by two adjacent keys on the piano. Whole Tone; Whole Step: Used generically for any interval made up of two half steps. Whole tones are separated by one key on piano. ...
Intervals
... interval using the same notes, the upper note will have a flat or the lower note will have a sharp Create the interval of a diminished 5th (d5) above G4. What accidentals do you need to use? Create the interval of a minor 6th (m6) below D5. Create the interval of a perfect 4th (P4) below B3. ...
... interval using the same notes, the upper note will have a flat or the lower note will have a sharp Create the interval of a diminished 5th (d5) above G4. What accidentals do you need to use? Create the interval of a minor 6th (m6) below D5. Create the interval of a perfect 4th (P4) below B3. ...
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1 Terms and Definitions Characteristics of Modern and Postmodern
... Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music (see textbook and lecture notes) Tone cluster: ...
... Chromatic harmony: harmony utilizing chords built on the five chromatic notes of the scale in addition to the 7 diatonic ones; producing rich harmonies Impressionism and Impressionist Music (See textbook and lecture notes) Modernism and Modernist Music (see textbook and lecture notes) Tone cluster: ...
Pythagoras to Secor - Joint Mathematics Meetings
... In music theory, a temperament is a system of tuning. The concept of temperament has been studied since antiquity; it arises as a consequence of the unique factorization property of integers, applied to the pitches of musical notes. In this talk, we briefly review historically significant temperamen ...
... In music theory, a temperament is a system of tuning. The concept of temperament has been studied since antiquity; it arises as a consequence of the unique factorization property of integers, applied to the pitches of musical notes. In this talk, we briefly review historically significant temperamen ...
document - Far Western District
... • As we discussed in week 3, a goal of singing barbershop properly is to create and match/reinforce each other’s overtones. To that end, we practice “just intonation.” Fixed pitch instruments (e.g. pianos) are tuned to equal temperament, where the notes play exactly the same regardless of context. J ...
... • As we discussed in week 3, a goal of singing barbershop properly is to create and match/reinforce each other’s overtones. To that end, we practice “just intonation.” Fixed pitch instruments (e.g. pianos) are tuned to equal temperament, where the notes play exactly the same regardless of context. J ...
melody and syncopation
... There is also another structure when we take into account the notes and pitches of every melody. It depends on the scale. A scale is a sequence of notes from which melodies and harmony can be derived. Scales are named according to the first note or degree. For example, in the C (do) major scale the ...
... There is also another structure when we take into account the notes and pitches of every melody. It depends on the scale. A scale is a sequence of notes from which melodies and harmony can be derived. Scales are named according to the first note or degree. For example, in the C (do) major scale the ...
Benward Chapter 9
... which is the root of the triad. The note a third above the root is called the third of the triad. The fifth above the root is the fifth of the triad. Triads are named by the root and the quality of sound: thus, in the following example, a major triad built on C is called the C major triad. ...
... which is the root of the triad. The note a third above the root is called the third of the triad. The fifth above the root is the fifth of the triad. Triads are named by the root and the quality of sound: thus, in the following example, a major triad built on C is called the C major triad. ...
Music Theory Essay. - Guitar Master Class
... note. Humans with good hearing can detect sound waves within a frequency range of about 20Hz up to about 20,000 Hz. In western music pitches of notes are named after the first seven letters of the alphabet (A B C D E F G). The notes we usually use are made relative to a reference frequency of 440Hz. ...
... note. Humans with good hearing can detect sound waves within a frequency range of about 20Hz up to about 20,000 Hz. In western music pitches of notes are named after the first seven letters of the alphabet (A B C D E F G). The notes we usually use are made relative to a reference frequency of 440Hz. ...
The Musical Intervals Tutor
... You can also listen to the different sequences of intervals that make up various scales and modes by clicking Listen to Modes and Scales. And if you would like to test your knowledge of those sequences, click Take Test 3. ...
... You can also listen to the different sequences of intervals that make up various scales and modes by clicking Listen to Modes and Scales. And if you would like to test your knowledge of those sequences, click Take Test 3. ...
POTTER VOICE STUDIO INTERVALS , SCALES , KE Y
... Other Useful Scales Chromatic Scales are made up entirely of half steps. When ascending, the scale uses sharps, when descending it uses flats. ...
... Other Useful Scales Chromatic Scales are made up entirely of half steps. When ascending, the scale uses sharps, when descending it uses flats. ...
Lesson one –basic parallege (Or sign
... Gregorios Protopsaltes, Chrysanthos, Metropolitan of Mardytos, and Chourmouzios the Archivist of the Great Church, who reformed the notation and devised this system of teaching say that the notes and their names should be memorized both forward and backward, and should flow from the lips like the ru ...
... Gregorios Protopsaltes, Chrysanthos, Metropolitan of Mardytos, and Chourmouzios the Archivist of the Great Church, who reformed the notation and devised this system of teaching say that the notes and their names should be memorized both forward and backward, and should flow from the lips like the ru ...
Pythagoras and His Vibrating Strings
... represented the same way. The idea is to build a "sawtooth" shaped wave. We usually use sawtooth waves when diagramming the standing waves produced by a musical instrument, for example, an oboe or a saxophone. This graph shows the fundamental (graphed in green), the smaller wave of its first harmoni ...
... represented the same way. The idea is to build a "sawtooth" shaped wave. We usually use sawtooth waves when diagramming the standing waves produced by a musical instrument, for example, an oboe or a saxophone. This graph shows the fundamental (graphed in green), the smaller wave of its first harmoni ...
Tippett - Concerto for Double String Orchestra movement I (Harmony)
... harmony. The most important functions of the chords are subdominant, dominant, and tonic (S, D, T). They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well. ...
... harmony. The most important functions of the chords are subdominant, dominant, and tonic (S, D, T). They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well. ...
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.