The Motive - AState.edu
... logic, comprehensibility, and fluency to a musical fabric." 1A motive must be repeated. While repetition produces motivic identity and clarity, it also produces monotony. Therefore, variation or change must be introduced. It is important that the variation of a motive take a course that is coherent ...
... logic, comprehensibility, and fluency to a musical fabric." 1A motive must be repeated. While repetition produces motivic identity and clarity, it also produces monotony. Therefore, variation or change must be introduced. It is important that the variation of a motive take a course that is coherent ...
bebop
... improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("allusions," or "riffs"). Sometimes they were entirely original, spontaneous ...
... improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("allusions," or "riffs"). Sometimes they were entirely original, spontaneous ...
Clarinet Warm-Up
... throughout the range. Do this to make certain that every note on the clarinet is performed in a long tone fashion every day. I used fifths and twelfths for many years, but found this to be superior as I was forced to listen to each note daily. Notes that had inferior sound quality or were not in tun ...
... throughout the range. Do this to make certain that every note on the clarinet is performed in a long tone fashion every day. I used fifths and twelfths for many years, but found this to be superior as I was forced to listen to each note daily. Notes that had inferior sound quality or were not in tun ...
The Rosegarden Codicil: Rehearsing Music in Nineteen
... Our composer comes from a background which includes both a Conservatory training in performance (piano) and University-based work in composition and research, and he works most of the time with singers and instrumentalists who usually perform standard repertoire. He has thus been engaged for a long ...
... Our composer comes from a background which includes both a Conservatory training in performance (piano) and University-based work in composition and research, and he works most of the time with singers and instrumentalists who usually perform standard repertoire. He has thus been engaged for a long ...
Pavane `The image of melancholy` and Galliard `Ecce quam bonum
... In the Pavane there is conjunct (stepwise) movement most of the time in the four upper parts (there are only three small leaps in the top part of Sections 1 and 2), and there are no leaps greater than a perfect 5th. The bass part of the Pavane has many more 4ths and 5ths than the other parts (the on ...
... In the Pavane there is conjunct (stepwise) movement most of the time in the four upper parts (there are only three small leaps in the top part of Sections 1 and 2), and there are no leaps greater than a perfect 5th. The bass part of the Pavane has many more 4ths and 5ths than the other parts (the on ...
DRUM NOTATION. In this lesson we look at how to read basic drum
... which is the most common time signature (otherwise called “common time”), it takes 4 quarter notes to fill a bar An 8th note last for half a beat – therefore you play 2 8th notes to every quarter note. You play 8 8th notes inside a bar of 4/4, hence the name 8th note. An 8th note has 1 flag falling ...
... which is the most common time signature (otherwise called “common time”), it takes 4 quarter notes to fill a bar An 8th note last for half a beat – therefore you play 2 8th notes to every quarter note. You play 8 8th notes inside a bar of 4/4, hence the name 8th note. An 8th note has 1 flag falling ...
Music Beginning
... called the F clef. a. Treble Clef b. Alto Clef c. Bass Clef 40. Sharps, flats or naturals occurring in a piece of music that are not in a key signature are referred to as_____. a. rhythms b. staves c. accidentals 41. Moderately soft is __________________. a. mezzo forte b. mezzo piano c. mezzo 42. _ ...
... called the F clef. a. Treble Clef b. Alto Clef c. Bass Clef 40. Sharps, flats or naturals occurring in a piece of music that are not in a key signature are referred to as_____. a. rhythms b. staves c. accidentals 41. Moderately soft is __________________. a. mezzo forte b. mezzo piano c. mezzo 42. _ ...
Chapter 1: Introduction to Pairwise Well-Formed Scales
... formedness on the basis of the triad alone, but when one generalizes to Q-cycles, involving sets like the 5-7 set mentioned above, one finds pairwise well-formed scales among the sets that support Q-cycles. The situation turns out to be more complicated than a simple equivalence, but as this dissert ...
... formedness on the basis of the triad alone, but when one generalizes to Q-cycles, involving sets like the 5-7 set mentioned above, one finds pairwise well-formed scales among the sets that support Q-cycles. The situation turns out to be more complicated than a simple equivalence, but as this dissert ...
Dissonant Harmony and “Seed-Tones”
... almost a century. Even though Rudhyar’s importance in the development of American music has been increasingly acknowledged by historians in the past two decades, his compositions have still received only the most superficial attention. Some of this neglect may result from Rudhyar's musical language ...
... almost a century. Even though Rudhyar’s importance in the development of American music has been increasingly acknowledged by historians in the past two decades, his compositions have still received only the most superficial attention. Some of this neglect may result from Rudhyar's musical language ...
Timbre, Harmony, Orchestration, and Analysis, and Rautavaara`s
... As I mentioned before, staff notation represents timbre directly in only a single dimension: lyrics. And this is appropriate—after all, language is fundamentally timbral in nature. When we hear language, we hear timbrally, synthetically: individual phonetic elements are combined into linguistically ...
... As I mentioned before, staff notation represents timbre directly in only a single dimension: lyrics. And this is appropriate—after all, language is fundamentally timbral in nature. When we hear language, we hear timbrally, synthetically: individual phonetic elements are combined into linguistically ...
43. Leonard Bernstein On the Waterfront: Symphonic
... the frequent raised 3rd B naturals complicate the issue. ...
... the frequent raised 3rd B naturals complicate the issue. ...
Contents
... The GCE AS/AL specification in Music builds upon the National Curriculum and GCSE, whilst, at the same time, accommodating the needs of candidates who may not have studied music at these levels. It promotes progression through the AS and AL and provides a suitable foundation for the study of Music o ...
... The GCE AS/AL specification in Music builds upon the National Curriculum and GCSE, whilst, at the same time, accommodating the needs of candidates who may not have studied music at these levels. It promotes progression through the AS and AL and provides a suitable foundation for the study of Music o ...
here - Springburn Academy
... Dixieland – Also known as New Orleans jazz music, popular for ensemble improvisations and instrumental solos. Performed by a small group of players. ...
... Dixieland – Also known as New Orleans jazz music, popular for ensemble improvisations and instrumental solos. Performed by a small group of players. ...
Chapter 5 - Wilson Central High School Band
... Parallel-key pentachords are the same except for the 3rd scale degrees. The minor key pentachord has a lowered 3rd (b3) scale degree (flat in this case means lowered…not necessarily a flat note) ...
... Parallel-key pentachords are the same except for the 3rd scale degrees. The minor key pentachord has a lowered 3rd (b3) scale degree (flat in this case means lowered…not necessarily a flat note) ...
Week 15
... Consonance and Dissonance • Harmony and treatment of chords changed • Before 1900: consonant and dissonant • Opposite sides of the coin ...
... Consonance and Dissonance • Harmony and treatment of chords changed • Before 1900: consonant and dissonant • Opposite sides of the coin ...
Psychology and Music - Diana Deutsch
... inappropriate for the study of music. At the same time as the science of psychoacoustics was developing with its focus on narrow stimulus parameters, music theorists were finding themselves faced with a vast increase in the complexity of the music that they were attempting to explain. The developmen ...
... inappropriate for the study of music. At the same time as the science of psychoacoustics was developing with its focus on narrow stimulus parameters, music theorists were finding themselves faced with a vast increase in the complexity of the music that they were attempting to explain. The developmen ...
![Compositional trajectories [Medieval music]](http://s1.studyres.com/store/data/012781418_1-1acbf3c6fa6c77e5d5672bca000c933b-300x300.png)
Compositional trajectories [Medieval music]
... classification schemes into subtler issues of melodic behaviour immediately requires limits to be defined that are generic, chronological and geographical. Poised on the brink of that potentially vast effort, the work of many books, a few examples will serve here briefly to lay some groundwork. To b ...
... classification schemes into subtler issues of melodic behaviour immediately requires limits to be defined that are generic, chronological and geographical. Poised on the brink of that potentially vast effort, the work of many books, a few examples will serve here briefly to lay some groundwork. To b ...
File
... signature of 68 would mean there are six beats per measure, and an eighth note represents one beat. One of the most common time signatures is 44 , and it is referred to as common time. Sounds associated with frequencies that are multiples or factors of one another (for example, 440Hz, 880Hz, 1760Hz, ...
... signature of 68 would mean there are six beats per measure, and an eighth note represents one beat. One of the most common time signatures is 44 , and it is referred to as common time. Sounds associated with frequencies that are multiples or factors of one another (for example, 440Hz, 880Hz, 1760Hz, ...
Disciplining Knowledge in Music Theory
... and exercises) extracted voice leading rules from text-based melodic writing in compositional practice, and in so doing abstracted counterpoint from its basis in imitation (with text repetition) and aspects of voice.4 (I will explore this assertion in more detail below.) The reasons for this theoret ...
... and exercises) extracted voice leading rules from text-based melodic writing in compositional practice, and in so doing abstracted counterpoint from its basis in imitation (with text repetition) and aspects of voice.4 (I will explore this assertion in more detail below.) The reasons for this theoret ...
LISTENING GUIDE
... Catholic Church from within. The Counter-Reformation had important consequences for music, as we will see. One technical change that may be noticed in late Renaissance music is the sound of the last chord at the end of sections. Until this time, final chords contained only the “perfect” intervals (o ...
... Catholic Church from within. The Counter-Reformation had important consequences for music, as we will see. One technical change that may be noticed in late Renaissance music is the sound of the last chord at the end of sections. Until this time, final chords contained only the “perfect” intervals (o ...
Part 1 The Materials of Music
... White Keys: C D E F G A B C Black keys are in between the white keys • Up a scale sharp ( # ) • Down a scale flat ( b ) • Black key above C is C#, D is D#, etc. • Black key below D is Db, E is Eb, etc. ...
... White Keys: C D E F G A B C Black keys are in between the white keys • Up a scale sharp ( # ) • Down a scale flat ( b ) • Black key above C is C#, D is D#, etc. • Black key below D is Db, E is Eb, etc. ...
Experiencing Music
... Expressiveness- Interpretation, style, and phrasing Technique- Performers skills in bringing the musical sounds to life. Presentation- Choice and appropriateness of music, does the performance meet expectations Impact- Artist’s charisma, familiarity and newness of what you hear, how does the perform ...
... Expressiveness- Interpretation, style, and phrasing Technique- Performers skills in bringing the musical sounds to life. Presentation- Choice and appropriateness of music, does the performance meet expectations Impact- Artist’s charisma, familiarity and newness of what you hear, how does the perform ...
Harmony
In music, harmony is the use of simultaneous pitches (tones, notes), or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the ""vertical"" aspect of music, as distinguished from melodic line, or the ""horizontal"" aspect. Counterpoint, which refers to the interweaving of melodic lines, and polyphony, which refers to the relationship of separate independent voices, are thus sometimes distinguished from harmony.In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with ""tensions"". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Typically, in the classical common practice period a dissonant chord (chord with tension) ""resolves"" to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between ""tense"" and ""relaxed"" moments.