Music Theory 101 (Basic)
... The diagram is the scale in C Major. From tone C to D is a whole step. Notice that there is a black key in between. A whole step usually skips a black key. Tone D to E is another whole step. From tone E to F however is only a half step. Notice that from E to F, there is no black key in between there ...
... The diagram is the scale in C Major. From tone C to D is a whole step. Notice that there is a black key in between. A whole step usually skips a black key. Tone D to E is another whole step. From tone E to F however is only a half step. Notice that from E to F, there is no black key in between there ...
CHROMATIC SCALES 0 0
... ajor and minor scales are diatonic. That is, they are made up of tones and semitones, and they contain only notes that belo ng to the scale. A chromatic scale is made up of only semitones and contains all twelve notes in the octave. There are two types of chromatic scale s: the chromatic scale that ...
... ajor and minor scales are diatonic. That is, they are made up of tones and semitones, and they contain only notes that belo ng to the scale. A chromatic scale is made up of only semitones and contains all twelve notes in the octave. There are two types of chromatic scale s: the chromatic scale that ...
4th 9 weeks
... N ~ I can play Concert D-flat, A-flat, and E-flat Major scales, one octave, plus the associated arpeggio and chromatic scale. I can play the pataflafla, the drag paradiddle #1, the double ratamacue, and flamacue between 50 and 60 BPM. P ~ I can play Concert D-flat, A-flat, and E-flat Major scales, t ...
... N ~ I can play Concert D-flat, A-flat, and E-flat Major scales, one octave, plus the associated arpeggio and chromatic scale. I can play the pataflafla, the drag paradiddle #1, the double ratamacue, and flamacue between 50 and 60 BPM. P ~ I can play Concert D-flat, A-flat, and E-flat Major scales, t ...
Music Theory Combination Tones
... this stage they were simply notated as what I subjectively interpreted as the closer equal tempered tone. ( I did this work at the piano) Secondly, using cycles per second values corresponding to equal tempered pitches, first , second, and third order combination tones were listed in spreadsheet for ...
... this stage they were simply notated as what I subjectively interpreted as the closer equal tempered tone. ( I did this work at the piano) Secondly, using cycles per second values corresponding to equal tempered pitches, first , second, and third order combination tones were listed in spreadsheet for ...
The Octave - Bill Troxler
... are an octave apart seem more or less identical, they bear the same name. The octave tone above an “A” is still called an “A”. When written on the musical staff, these two tones appear in different places. When written as text or used in conversation, something more is needed to distinguish between ...
... are an octave apart seem more or less identical, they bear the same name. The octave tone above an “A” is still called an “A”. When written on the musical staff, these two tones appear in different places. When written as text or used in conversation, something more is needed to distinguish between ...
Complete Appendices
... Cut time (Alla breve) The time signature C or 2/2 time; simple duple meter with the half note as the pulse note. D.C. al Fine It. “Da Capo” (“to the head”) directs the musician to return to the beginning and repeat, ending at the word Fine (the end). D.S. al Fine It. “Dal Segno” (“to the sign”) dire ...
... Cut time (Alla breve) The time signature C or 2/2 time; simple duple meter with the half note as the pulse note. D.C. al Fine It. “Da Capo” (“to the head”) directs the musician to return to the beginning and repeat, ending at the word Fine (the end). D.S. al Fine It. “Dal Segno” (“to the sign”) dire ...
On the Requirement of Automatic Tuning Frequency
... temperament is usually assumed, which is the only possible assumption since the key of the piece is in most cases unknown. However, a musician not restricted to the equal tempered scale by his or her instrument or accompaniment will most likely perform on a non-equal tempered scale, since the equal ...
... temperament is usually assumed, which is the only possible assumption since the key of the piece is in most cases unknown. However, a musician not restricted to the equal tempered scale by his or her instrument or accompaniment will most likely perform on a non-equal tempered scale, since the equal ...
Interval Scale as Group Generators - Base des articles scientifiques
... provides possibilities that interval scales can be used in atonal music that uses all pitch classes and can be used to express some differences in a similar way to ordinary scales, depending on the selection of the elements. In this paper, we first present two existing musical pieces that can be int ...
... provides possibilities that interval scales can be used in atonal music that uses all pitch classes and can be used to express some differences in a similar way to ordinary scales, depending on the selection of the elements. In this paper, we first present two existing musical pieces that can be int ...
Romantic and impressionist harmony
... mass) a nice example with the remarkable progressions of F major, F# minor, C# major, D major, Eb minor, Bb major, B major, C minor and F major. The leading tone then becomes more important and enables the chromatic world of Liszt and Wagner with their complex chords and fast key interactions (which ...
... mass) a nice example with the remarkable progressions of F major, F# minor, C# major, D major, Eb minor, Bb major, B major, C minor and F major. The leading tone then becomes more important and enables the chromatic world of Liszt and Wagner with their complex chords and fast key interactions (which ...
Lesson EEE: The Dominant Seventh Chord
... would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discussed in Lesson ???). Listen again to Example 8 and compare it to Example 10. Which version of the V chord ...
... would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discussed in Lesson ???). Listen again to Example 8 and compare it to Example 10. Which version of the V chord ...
Octaves and the Major-Minor Tonal System
... The word "octave" comes from a Latin root meaning "eight". It seems an odd name for a frequency that is two times, not eight times, higher. The octave was named by musicians who were more interested in how octaves are divided into scales, than in how their frequencies are related. Octaves aren't the ...
... The word "octave" comes from a Latin root meaning "eight". It seems an odd name for a frequency that is two times, not eight times, higher. The octave was named by musicians who were more interested in how octaves are divided into scales, than in how their frequencies are related. Octaves aren't the ...
Outlining the prime
... of the placement of the tones in the circle of the fifths(i.e. the note “E” is the third degree of the C major scale but it is four fifths away in the circle of fifths – in real distance 2octaves and a third. Taking this fact seriously offers new criteria for comparing the different Qualities of the ...
... of the placement of the tones in the circle of the fifths(i.e. the note “E” is the third degree of the C major scale but it is four fifths away in the circle of fifths – in real distance 2octaves and a third. Taking this fact seriously offers new criteria for comparing the different Qualities of the ...
japanese shakuhachi music
... When the playing of Shakuhachi was allowed again, it was to be used in small group ensemble, with koto, shamisen and usually, vocal in Sankyoku music. ...
... When the playing of Shakuhachi was allowed again, it was to be used in small group ensemble, with koto, shamisen and usually, vocal in Sankyoku music. ...
the fundamental principles of harmony
... inversion chords - Accord de Sixte or Premier renversement de l’accord - contain within them both relics of Figured Bass (numbers indicating intervals above the bass) or concepts of flipping over the members of the triad and hence turning upside down « the agreement » between these pitches. Without ...
... inversion chords - Accord de Sixte or Premier renversement de l’accord - contain within them both relics of Figured Bass (numbers indicating intervals above the bass) or concepts of flipping over the members of the triad and hence turning upside down « the agreement » between these pitches. Without ...
Half Steps and Whole Steps
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
Lesson_SSS_-_Diatoni..
... and fifths via a series of suspensions.” Response if incorrect: “Incorrect. Try again.”] In Example 11, successive harmonies alternate between first inversion and root position. The soprano voice yields a “6 – 10” pattern with the bass, while the alto and tenor yield “10 – 8” and “6 – 5” patterns wi ...
... and fifths via a series of suspensions.” Response if incorrect: “Incorrect. Try again.”] In Example 11, successive harmonies alternate between first inversion and root position. The soprano voice yields a “6 – 10” pattern with the bass, while the alto and tenor yield “10 – 8” and “6 – 5” patterns wi ...
Assessment Schedule – 2011
... bar 43, “both instruments anticipate the third beat”. Half-time feel – shows the ...
... bar 43, “both instruments anticipate the third beat”. Half-time feel – shows the ...
Number Theory and Music
... sounds to the ear. We begin by enumerating a piano keyboard, a portion of which is pictured in figure 1, as a means of organizing pitch relationships. We call each of these numbers a key position. The interval between any two keys—whether black or white—with consecutive key positions is called a hal ...
... sounds to the ear. We begin by enumerating a piano keyboard, a portion of which is pictured in figure 1, as a means of organizing pitch relationships. We call each of these numbers a key position. The interval between any two keys—whether black or white—with consecutive key positions is called a hal ...
Supporting Materials - Melody, Rhythm, Accompaniment
... In Orff Schulwerk, participants are introduced to the basic elements of music, rhythm, melody, harmony, form, timbre, texture, and dynamics through developmental exercises in speech, singing, movement, and playing instruments. Students are led to conscious awareness and understanding of an element o ...
... In Orff Schulwerk, participants are introduced to the basic elements of music, rhythm, melody, harmony, form, timbre, texture, and dynamics through developmental exercises in speech, singing, movement, and playing instruments. Students are led to conscious awareness and understanding of an element o ...
A Comparison between Genetic and Memetic Algorithm
... two main characteristics: pitch and duration. Music pitch often refers to the frequency of the sound. In science, pitch means higher frequency and lower frequency. Note value or note duration is a value showing how long a note is meant to be played. Notes are normally written on “staffs” or “staves” ...
... two main characteristics: pitch and duration. Music pitch often refers to the frequency of the sound. In science, pitch means higher frequency and lower frequency. Note value or note duration is a value showing how long a note is meant to be played. Notes are normally written on “staffs” or “staves” ...
Inner Octaves and Eastern Music
... of sound known as consonance. In music, consonance and dissonance refer to the human response to an interval. However, there is objective physics behind the subjective experience of hearing what happens when two tones interact. When most vibrations of differing frequencies interact, some dissonance ...
... of sound known as consonance. In music, consonance and dissonance refer to the human response to an interval. However, there is objective physics behind the subjective experience of hearing what happens when two tones interact. When most vibrations of differing frequencies interact, some dissonance ...
Using Whole Tone Scales in Improvisation
... stretching consists of altering diatonic scale tones to fit the phrase. This adds considerable color, and lends a distinct horizontal character to the passage. Of course, the benefit of going through the stretching process is that ...
... stretching consists of altering diatonic scale tones to fit the phrase. This adds considerable color, and lends a distinct horizontal character to the passage. Of course, the benefit of going through the stretching process is that ...
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.