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 ...
full PDF text of Leach 2006
... music’s ability to cure disease, and with cautionary tales in which the Phrygian mode makes a youth already derationalized by drink (and thus not receptive to verbal persuasion), act in a frenzied way (usually involving violence and sexual acts).17 In his satirical Policraticus (before 1159), John o ...
... music’s ability to cure disease, and with cautionary tales in which the Phrygian mode makes a youth already derationalized by drink (and thus not receptive to verbal persuasion), act in a frenzied way (usually involving violence and sexual acts).17 In his satirical Policraticus (before 1159), John o ...
250KB - NZQA
... Harp [or the instrument identified in (a) (i)] Element: harmony • accompanies the melody by playing chords / playing broken chords (arpeggios) at the beginning, then by playing (strummed) chords / playing chords that continue after the melody stops. ...
... Harp [or the instrument identified in (a) (i)] Element: harmony • accompanies the melody by playing chords / playing broken chords (arpeggios) at the beginning, then by playing (strummed) chords / playing chords that continue after the melody stops. ...
A short introduction to Indian Classical Music
... take it in turn to improvise, sometimes imitating each other’s improvised patterns. The music gets faster and faster, and more and more exciting before concluding, often to great applause. ...
... take it in turn to improvise, sometimes imitating each other’s improvised patterns. The music gets faster and faster, and more and more exciting before concluding, often to great applause. ...
Semitones - funmusiccoimages.com
... What note is a tone higher than A? ______ What note is a tone lower than E? ______ What note is a tone higher than B? ______ What note is a tone lower than G sharp? ______ Circle the tones in this melody: ...
... What note is a tone higher than A? ______ What note is a tone lower than E? ______ What note is a tone higher than B? ______ What note is a tone lower than G sharp? ______ Circle the tones in this melody: ...
A propos du « mouvement musical » chez Debussy :
... Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian modes through the tritonization of the fourth degree.” (Barraqué, Debussy, 151). One can also describe it as a seven-note collection - concurring with what Perle classifies as symmetrical ...
... Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian modes through the tritonization of the fourth degree.” (Barraqué, Debussy, 151). One can also describe it as a seven-note collection - concurring with what Perle classifies as symmetrical ...
Cyclical Structures and the Organisation of Time Bryn Harrison
... over the last five years, to deal with musical time on a moment to moment basis and how this aesthetic concern has led to a largely non-goal orientated approach to form and structure. In order to do so and by using specific examples from selected pieces, I will examine the main aspects of my musical ...
... over the last five years, to deal with musical time on a moment to moment basis and how this aesthetic concern has led to a largely non-goal orientated approach to form and structure. In order to do so and by using specific examples from selected pieces, I will examine the main aspects of my musical ...
Middle School WorkBook
... Lisk E. (1991). The Creative Director. Alternative Rehearsal Techniques. Pg 16. MEREDITH MUSIC PUBLICATIONS ...
... Lisk E. (1991). The Creative Director. Alternative Rehearsal Techniques. Pg 16. MEREDITH MUSIC PUBLICATIONS ...
Strand A - Core Knowledge UK
... Sing unaccompanied, accompanied, and in unison. Recognise verse and refrain. Recognise that musical notes have names. Recognise a scale as a series of notes. Sing the C major scale using ‘do re mi’ etc. Review the following notation: Crochet Minim Semi-breve Understand the following notation: ...
... Sing unaccompanied, accompanied, and in unison. Recognise verse and refrain. Recognise that musical notes have names. Recognise a scale as a series of notes. Sing the C major scale using ‘do re mi’ etc. Review the following notation: Crochet Minim Semi-breve Understand the following notation: ...
NGFL_Shost_movt_3_analysis
... Interestingly, both the ostinato figures in viola and cello also feature an interval of a semitone. The second half of the opening phrase (i.e. theme b2) includes a figure which spans the familiar interval of a diminished 4th (F-C#). The corresponding section in the second phrase, (theme b3, bars 79 ...
... Interestingly, both the ostinato figures in viola and cello also feature an interval of a semitone. The second half of the opening phrase (i.e. theme b2) includes a figure which spans the familiar interval of a diminished 4th (F-C#). The corresponding section in the second phrase, (theme b3, bars 79 ...
Long Live the King P.D.Q. Bach (1807
... reservation. His rebelliousness was such, in fact, that he avoided music as much as possible until he was well into his thirties (as a teenager he did assist in the construction of the loudest ...
... reservation. His rebelliousness was such, in fact, that he avoided music as much as possible until he was well into his thirties (as a teenager he did assist in the construction of the loudest ...
A Statistical Analysis of Raga Ahir Bhairav
... defining phrase or a characteristic pattern for a raga describing its movement. For example, {Pa Ma Ga Ma Ga} is a tell-tale sign of raga Bihag. 2 In Western music, a piece of music is in a certain key, i.e., it uses the notes of a particular major or minor scale. The harmonies and counterpoint 3 de ...
... defining phrase or a characteristic pattern for a raga describing its movement. For example, {Pa Ma Ga Ma Ga} is a tell-tale sign of raga Bihag. 2 In Western music, a piece of music is in a certain key, i.e., it uses the notes of a particular major or minor scale. The harmonies and counterpoint 3 de ...
Lesson_CCC_-_The_Min..
... In adjusting the diatonic minor scale by incorporating the leading tone from the major scale, we have the same V and vii° triads in minor as we do in the parallel major. The leading-tone adjustment not only strengthens the sense of tonality when we are in a minor key, but also allows for modulation ...
... In adjusting the diatonic minor scale by incorporating the leading tone from the major scale, we have the same V and vii° triads in minor as we do in the parallel major. The leading-tone adjustment not only strengthens the sense of tonality when we are in a minor key, but also allows for modulation ...
... the tonic A (sharped as a subsemitone to B). In measure 20 the band settles on the new key, taking up a repetitive two-chord pattern (mm. 20-24) that continues for some time. In retrospect we recognize the two preceding formulas (mm. 16-19) as having constituted a tag, marking a new departure in the ...
Coming to Terms with Persichetti`s Pageant
... 6–8, with a sequence in turn of that material, rhythmically diminished, down to C (mm. 8–9). This last sequence is so cleverly and beautifully elided that any attempt at parsing is out of the question. With the arrival of Es in measure 8, we move into somewhat brighter modal territory: either B Ly ...
... 6–8, with a sequence in turn of that material, rhythmically diminished, down to C (mm. 8–9). This last sequence is so cleverly and beautifully elided that any attempt at parsing is out of the question. With the arrival of Es in measure 8, we move into somewhat brighter modal territory: either B Ly ...
A Primer for Atonal Set Theory
... complete, annotated bibliographyof post-tonal theory,compiled by Martha Hyde and Andrew Mead, may be found in Music TheorySpectrum11/1 (1989): 44-48. The field as a whole originates with Milton Babbitt's influentialarticles and teaching, particularly"Some Aspects of TwelveTone Composition," The Scor ...
... complete, annotated bibliographyof post-tonal theory,compiled by Martha Hyde and Andrew Mead, may be found in Music TheorySpectrum11/1 (1989): 44-48. The field as a whole originates with Milton Babbitt's influentialarticles and teaching, particularly"Some Aspects of TwelveTone Composition," The Scor ...
Mozart PowerPoint
... The idea is passed from clarinet to bassoon. During this passage, the upper strings (violins) have just the first two notes of this idea in minims (doubling or more the original note values is called augmentation) in canon with the lower strings (violas, cellos and basses). Following a perfect caden ...
... The idea is passed from clarinet to bassoon. During this passage, the upper strings (violins) have just the first two notes of this idea in minims (doubling or more the original note values is called augmentation) in canon with the lower strings (violas, cellos and basses). Following a perfect caden ...
Troubles with Tonal Terminology
... poïetic and gobbledygook to those with no formal training in con‐ ventional music theory. The most disturbing symptoms of this con‐ tradiction are of course: [i] that musical analysis is more often than not absent in media education; [ii] that film directors and film com‐ posers often have diffic ...
... poïetic and gobbledygook to those with no formal training in con‐ ventional music theory. The most disturbing symptoms of this con‐ tradiction are of course: [i] that musical analysis is more often than not absent in media education; [ii] that film directors and film com‐ posers often have diffic ...
Stiff-string theory: Richard Feynman on piano tuning
... to get, say, to G7 (I mean by what beats) and what the wire gauges are (or better what their diameters are) I can get a better figure for how far it will be off. I haven’t tried to figure it for the bass strings. Another effect that might alter things is the “give” of the sounding board. The end pin ...
... to get, say, to G7 (I mean by what beats) and what the wire gauges are (or better what their diameters are) I can get a better figure for how far it will be off. I haven’t tried to figure it for the bass strings. Another effect that might alter things is the “give” of the sounding board. The end pin ...
Movement I (Largo) – overall comment
... The phrasing of the 2nd arioso is quite regular and falls into 3x 8 bars. Phrase 1 (bar 55/Fig. 4): the melody in violin 1 is extremely plaintive and closely resembles that heard at Fig. 2, this time it outlines a tritone (Eª down to B¨). The Eª brings the welcome flavour of a major tonality, howe ...
... The phrasing of the 2nd arioso is quite regular and falls into 3x 8 bars. Phrase 1 (bar 55/Fig. 4): the melody in violin 1 is extremely plaintive and closely resembles that heard at Fig. 2, this time it outlines a tritone (Eª down to B¨). The Eª brings the welcome flavour of a major tonality, howe ...
Mantroch – A Future Orchestral Voice For Pipers
... Ceol mor uses a different system of notation to other forms of Scottish bagpipe music. This is called canntaireachd, meaning ‘sung music’ in Gaelic. Canntaireachd is a system of words used to represent notes and embellishments in pipe music with the rhythm derived from the words themselves. ...
... Ceol mor uses a different system of notation to other forms of Scottish bagpipe music. This is called canntaireachd, meaning ‘sung music’ in Gaelic. Canntaireachd is a system of words used to represent notes and embellishments in pipe music with the rhythm derived from the words themselves. ...
Orchestral Texture and Unison Composition
... Orchestral Texture and Unison Composition by Artemus Introduction When composing for orchestra, the most important concept is that of balance which comes from knowledge of instrumentation; not just in terms of their tone but their characteristics in different registers and subsequent dynamics, as we ...
... Orchestral Texture and Unison Composition by Artemus Introduction When composing for orchestra, the most important concept is that of balance which comes from knowledge of instrumentation; not just in terms of their tone but their characteristics in different registers and subsequent dynamics, as we ...
Music Craft - AMEB Online Exams
... onwards. The Set Works will be included in each Student Workbook, covering a wide range of music including diatonic or modal folk songs, contemporary popular music and melodic extracts from late 18th and early 19th century concert works. These works will track with the scale types and the harmony co ...
... onwards. The Set Works will be included in each Student Workbook, covering a wide range of music including diatonic or modal folk songs, contemporary popular music and melodic extracts from late 18th and early 19th century concert works. These works will track with the scale types and the harmony co ...
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.