Three Conceptions of Musical Distance
... because the figure is drawn using the chromatic semitone as a unit; were we to use the diatonic step, it would be regular.) Abstractly, these voice leadings form the circle shown on the right of Figure 4. The figure demonstrates that there are purely contrapuntal reasons to associate fifth-related d ...
... because the figure is drawn using the chromatic semitone as a unit; were we to use the diatonic step, it would be regular.) Abstractly, these voice leadings form the circle shown on the right of Figure 4. The figure demonstrates that there are purely contrapuntal reasons to associate fifth-related d ...
Journal of the Society for American Music Reminiscence
... him.16 For Harrison, the quality of the sound itself was paramount, and he would sooner build a new instrument than make do with one that could not deliver his ideal sound; he also vociferously eschewed amplification, always opting to resolve matters of volume and balance by means of instrumentation ...
... him.16 For Harrison, the quality of the sound itself was paramount, and he would sooner build a new instrument than make do with one that could not deliver his ideal sound; he also vociferously eschewed amplification, always opting to resolve matters of volume and balance by means of instrumentation ...
Absolute pitch correlates with high performance on
... the 36 tones spanning three octaves from C3 (131 Hz) to B5 (988 Hz), and subjects were asked to write down the name of each note (C, F#, E; and so on) after they heard it. All tones were separated from temporally adjacent tones by an interval larger than an octave to minimize the use of relative pit ...
... the 36 tones spanning three octaves from C3 (131 Hz) to B5 (988 Hz), and subjects were asked to write down the name of each note (C, F#, E; and so on) after they heard it. All tones were separated from temporally adjacent tones by an interval larger than an octave to minimize the use of relative pit ...
Artistic Song Leading (Lesson 1)
... 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. By changing the fi ...
... 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. By changing the fi ...
1 LAPPEENRANTA UNIVERSITY OF TECHNOLOGY Faculty
... temperament was already used in lutes because of their mechanical construction. (Isacoff, 2001, p.126,158). Pythagorean tuning is not well suited for polyphonic music. For this reason, in the 1600s the meantone temperament was getting more common. (Campbell, 1987, s.176.) It is not suited for music ...
... temperament was already used in lutes because of their mechanical construction. (Isacoff, 2001, p.126,158). Pythagorean tuning is not well suited for polyphonic music. For this reason, in the 1600s the meantone temperament was getting more common. (Campbell, 1987, s.176.) It is not suited for music ...
Chapter 1: Introduction to Pairwise Well-Formed Scales
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
Composing with Numbers: Arnold Schoenberg and His Twelve
... Same original or prime tone row used for basis of entire piece. In the Trio, only the six rows P-0, P-6, I-0, I-6, R-6 and RI-6 are used. The tritone interval (six half-steps) is emphasized since only n = 0 or n = 6 is utilized. The primary row begins on an E and ends on a B[, which is also a triton ...
... Same original or prime tone row used for basis of entire piece. In the Trio, only the six rows P-0, P-6, I-0, I-6, R-6 and RI-6 are used. The tritone interval (six half-steps) is emphasized since only n = 0 or n = 6 is utilized. The primary row begins on an E and ends on a B[, which is also a triton ...
Proceedings of the 14th International Computer Music Conference
... ond then oll tcons have about the some size, stnce their maxtmum RVs are equol. The volume is then represented by eilher the conventtonol piano-forte-crescendo-dtminuendo symbols, or by the thickness of the durotion ltne segment, or by morktng the dB volue of the volume. (b) The ADSR curves ore not ...
... ond then oll tcons have about the some size, stnce their maxtmum RVs are equol. The volume is then represented by eilher the conventtonol piano-forte-crescendo-dtminuendo symbols, or by the thickness of the durotion ltne segment, or by morktng the dB volue of the volume. (b) The ADSR curves ore not ...
Violin sound quality: can it be controlled within the parameters of
... Consonant and dissonant tones mark opposite ends of a continuum of pleasantness and unpleasantness. The theory underlying consonant and dissonant tones relates to how well tone combinations fit comfortably with our perception of sound. A perceived tone has within it a series of equally spaced harmon ...
... Consonant and dissonant tones mark opposite ends of a continuum of pleasantness and unpleasantness. The theory underlying consonant and dissonant tones relates to how well tone combinations fit comfortably with our perception of sound. A perceived tone has within it a series of equally spaced harmon ...
PITCH AND PITCH CLASS - Mr. Deininger`s Page
... Visually it is easier to imagine a piano when referring to pitch name Accidentals - sharp or flat changing a pitch from its “natural” state Flat - lower the pitch by one half-step; key below (to the left) Sharp - raises the pitch by one half-step; key above (to the right) Natural - no sharp or flats ...
... Visually it is easier to imagine a piano when referring to pitch name Accidentals - sharp or flat changing a pitch from its “natural” state Flat - lower the pitch by one half-step; key below (to the left) Sharp - raises the pitch by one half-step; key above (to the right) Natural - no sharp or flats ...
Beginning to Learn the Byzantine Musical System Using Western
... Beginning to Learn the Byzantine Musical System Using Western otation and Theory by Stanley J. Takis The traditional music of the Greek Orthodox Church is called Byzantine chant. Without getting deeply into the long and complex history of this ancient form of vocal music, let us establish right awa ...
... Beginning to Learn the Byzantine Musical System Using Western otation and Theory by Stanley J. Takis The traditional music of the Greek Orthodox Church is called Byzantine chant. Without getting deeply into the long and complex history of this ancient form of vocal music, let us establish right awa ...
Middle School Instrumental/Vocal GRADE: 7
... We will read notes on a staff including four or more ledger lines above or below the staff We will Identify and notate I, IV, V, V7, I chord progressions in a given key signature We will describe, using a minimum of four markings (articulation, dynamic and tempo), when analyzing a musical example ...
... We will read notes on a staff including four or more ledger lines above or below the staff We will Identify and notate I, IV, V, V7, I chord progressions in a given key signature We will describe, using a minimum of four markings (articulation, dynamic and tempo), when analyzing a musical example ...
Keyboard FUNdamentals
... There are multitudes of exercises for development of each 4-mallet stroke type. These can range from simple and fairly stationary repeated ideas, to complex combinations of strokes incorporating a large range on the instrument. To begin, the best thing to do is to isolate each stroke type with a sim ...
... There are multitudes of exercises for development of each 4-mallet stroke type. These can range from simple and fairly stationary repeated ideas, to complex combinations of strokes incorporating a large range on the instrument. To begin, the best thing to do is to isolate each stroke type with a sim ...
Marching Band Performance Groups
... and rest values while maintaining a steady beat: whole, half, quarter, eighth, dotted half, dotted quarter and sixteenth as well as other note and rest values encountered in the repertoire. ...
... and rest values while maintaining a steady beat: whole, half, quarter, eighth, dotted half, dotted quarter and sixteenth as well as other note and rest values encountered in the repertoire. ...
A Farewell to the Avant-garde— Krzesany by Wojciech Kilar
... or to highland folklore. Kilar, with Krzesany, and then with Kościelec, Orawa and Siwa mgła, joined such artists of considerable standing as Moniuszko, Nos kowski, Żeleński, Karłowicz, Paderewski, Szymanowski, Malawski. The landscape and the impressions made by it, as well as the folklore—these are ...
... or to highland folklore. Kilar, with Krzesany, and then with Kościelec, Orawa and Siwa mgła, joined such artists of considerable standing as Moniuszko, Nos kowski, Żeleński, Karłowicz, Paderewski, Szymanowski, Malawski. The landscape and the impressions made by it, as well as the folklore—these are ...
Middle School WorkBook
... (whole) rest is used, regardless of the actual time signature 13. Half note and rest – is a note played for half the duration of a whole note (or semibreve) and twice the duration of a quarter note (or crotchet). In time signatures with a denominator of 4, such as 4/4 or 3/4 time, the half note is t ...
... (whole) rest is used, regardless of the actual time signature 13. Half note and rest – is a note played for half the duration of a whole note (or semibreve) and twice the duration of a quarter note (or crotchet). In time signatures with a denominator of 4, such as 4/4 or 3/4 time, the half note is t ...
AP Music Syllabus
... Finish modes: use the acronym, etc. Test review TEST DAY Sing from packet, including some canons and two-part things. Triads: major, minor, diminished, and augmented, root position. Seventh chords: M7, Mm7, m7, dim7, half-dim ...
... Finish modes: use the acronym, etc. Test review TEST DAY Sing from packet, including some canons and two-part things. Triads: major, minor, diminished, and augmented, root position. Seventh chords: M7, Mm7, m7, dim7, half-dim ...
Chapter One Introduction to Quarter
... familiar musical entities. Conventional musical objects are those that would be familiar to any trained musician—examples of such objects include conventional pitches (such as Fe or Et), conventional intervals (such as the minor third or the tritone), or conventional chords (such as the major triad ...
... familiar musical entities. Conventional musical objects are those that would be familiar to any trained musician—examples of such objects include conventional pitches (such as Fe or Et), conventional intervals (such as the minor third or the tritone), or conventional chords (such as the major triad ...
Quia Tier 4 powerpoint from class
... What solfege syllable is a third above DO? What solfege syllable is a fourth above DO? ...
... What solfege syllable is a third above DO? What solfege syllable is a fourth above DO? ...
Clarinet Warm-Up
... The most important part of any day's practice time is the warm up period. I have a comprehensive warm-up that I use daily in my teaching and playing. I feel that each aspect of the warm-up should lead to the next, and that the objective should be a warm up of all muscle groups from large to small. T ...
... The most important part of any day's practice time is the warm up period. I have a comprehensive warm-up that I use daily in my teaching and playing. I feel that each aspect of the warm-up should lead to the next, and that the objective should be a warm up of all muscle groups from large to small. T ...
Introducing Triads - LearnMusicTheory.net
... LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals ...
... LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals ...
A Style of Music Characterized by Fibonacci [Numbers]
... This is a rather large interval, lying approximately one third between the minor and major sixth. The human hearing range spans from approximately 16 to 20000 Hz. How many pitches is it possible to have in our hearing range using the golden ratio as a base interval? 1. 16 Hz 2. 25.9 Hz 15. 13488.0 ...
... This is a rather large interval, lying approximately one third between the minor and major sixth. The human hearing range spans from approximately 16 to 20000 Hz. How many pitches is it possible to have in our hearing range using the golden ratio as a base interval? 1. 16 Hz 2. 25.9 Hz 15. 13488.0 ...
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.