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... Harmonic Minor In the Harmonic minor scale, the seventh degree is raised one semitone going up the scale, and stays raised coming down the scale. This change is necessary when harmonizing melodies in minor keys. The following is an A Harmonic minor scale. ...
... Harmonic Minor In the Harmonic minor scale, the seventh degree is raised one semitone going up the scale, and stays raised coming down the scale. This change is necessary when harmonizing melodies in minor keys. The following is an A Harmonic minor scale. ...
abstract - eThesis
... Another approach has been to abide more closely by original Schenkerian notions, enriching them with some extensions and additions, such as Felix Salzer’s (1952/1982) “contrapuntal-structural tones,” “‘independent’ voice leading,” and “color chords.” In general, such analysis has been most successfu ...
... Another approach has been to abide more closely by original Schenkerian notions, enriching them with some extensions and additions, such as Felix Salzer’s (1952/1982) “contrapuntal-structural tones,” “‘independent’ voice leading,” and “color chords.” In general, such analysis has been most successfu ...
Rediscovering “sonoristics”: A groundbreaking theory from
... autonomous element of the musical work: sonoristics.15 Here we come very close to understanding the original and one of the essential meanings of the word “sonoristics”, which clearly functions as an umbrella term encompassing all aspects of the work’s sonority; i.e., all the phenomena that in the c ...
... autonomous element of the musical work: sonoristics.15 Here we come very close to understanding the original and one of the essential meanings of the word “sonoristics”, which clearly functions as an umbrella term encompassing all aspects of the work’s sonority; i.e., all the phenomena that in the c ...
The Compositional Signature of Anton Bruckner I.
... a. Specifically studied with Sechter to focus on contrapuntal writing because Bruckner felt it was his weakness 1. Continued study with the Kitzler Studienbuch i. Evidence of voice-leading errors ii. Focus on form rather than contrapuntal accuracy iii. Major influence on Bruckner’s adoration of Wagn ...
... a. Specifically studied with Sechter to focus on contrapuntal writing because Bruckner felt it was his weakness 1. Continued study with the Kitzler Studienbuch i. Evidence of voice-leading errors ii. Focus on form rather than contrapuntal accuracy iii. Major influence on Bruckner’s adoration of Wagn ...
The Clefs and Notation for the Viola
... but the extreme upper notes would preferably be written for the violins except where it is necessary to carry the viola into the high register to preserve continuity of tone color in a passaS'e' or where the peculiar tone quality of the viola A string was PurPosely sought. ...
... but the extreme upper notes would preferably be written for the violins except where it is necessary to carry the viola into the high register to preserve continuity of tone color in a passaS'e' or where the peculiar tone quality of the viola A string was PurPosely sought. ...
Trio for Piano, Oboe and Bassoon
... arpeggio-based. Melodic chromaticism is mostly the result of Poulenc’s use of chromatic harmony. His melodies are usually lyric and expansive and constructed in regular phrases, though occasionally a 1-, 3- or 5-bar phrase will upset the regularity. • Despite some initial experiments in polytonalit ...
... arpeggio-based. Melodic chromaticism is mostly the result of Poulenc’s use of chromatic harmony. His melodies are usually lyric and expansive and constructed in regular phrases, though occasionally a 1-, 3- or 5-bar phrase will upset the regularity. • Despite some initial experiments in polytonalit ...
Week 3 Pitch Class
... Scales: differ from pitch class in that they are ordered Chromatic Scale: made up entirely of half steps Start on given pitch If no key signature, use sharps ascending and flats descending ...
... Scales: differ from pitch class in that they are ordered Chromatic Scale: made up entirely of half steps Start on given pitch If no key signature, use sharps ascending and flats descending ...
Grade 9 Instrumental Music Theory Workbook
... *I am responsible for knowing all the notes in the treble and bass clefs, including ledger lines. ...
... *I am responsible for knowing all the notes in the treble and bass clefs, including ledger lines. ...
Sheet Music - Murray High School, Lavington
... lines player together. • Heterophonic – two or more lines played at the same time with variations of the melody ...
... lines player together. • Heterophonic – two or more lines played at the same time with variations of the melody ...
Throbbing Analysis - MLC Music eJournal
... free. But first, let us take a USA style telephone number as a way of constructing a set of pitches. To make a call to the US, you first need to type in the country code (01) followed ...
... free. But first, let us take a USA style telephone number as a way of constructing a set of pitches. To make a call to the US, you first need to type in the country code (01) followed ...
COMPOSER`S HANDBOOK FOR THE CLASSICAL ACCORDION
... Tüür, Aho, Beamish etc In short the increasingly expanding original repertoire together with its acceptance as a legitimate instrument for study at most European Music Academies is paving the way for an exciting future for the classical accordion. ...
... Tüür, Aho, Beamish etc In short the increasingly expanding original repertoire together with its acceptance as a legitimate instrument for study at most European Music Academies is paving the way for an exciting future for the classical accordion. ...
Musicology Today
... uniting melody and harmony through a formalized method which evidenced both musical scales as set of numbers, as well as their intervallic structure as a vector of creation. The rigors of this theory (condensing sound space and reducing temporal parameters) – by creating a neutral approach from an a ...
... uniting melody and harmony through a formalized method which evidenced both musical scales as set of numbers, as well as their intervallic structure as a vector of creation. The rigors of this theory (condensing sound space and reducing temporal parameters) – by creating a neutral approach from an a ...
Introduction to Reading Music Homework 5 15-212, Fall 2006
... A typical 5 minute piece of music may contain several thousand notes. If written in a sequence one after the other, it may be very hard for a player to keep track of where she is at a particular point of time. Keeping the performer’s convenience in mind, music is divided into sets of notes called me ...
... A typical 5 minute piece of music may contain several thousand notes. If written in a sequence one after the other, it may be very hard for a player to keep track of where she is at a particular point of time. Keeping the performer’s convenience in mind, music is divided into sets of notes called me ...
degree handbook - Berklee College of Music
... To further develop this line, we’ll add sustain, or tied notes in various places. At this point, it is safe to say that sustain works best when the chosen note is a chord tone (1, 3, 5, or 7). Still, as one develops as a soloist, there are many situations where tensions (non-chord tones) will work. ...
... To further develop this line, we’ll add sustain, or tied notes in various places. At this point, it is safe to say that sustain works best when the chosen note is a chord tone (1, 3, 5, or 7). Still, as one develops as a soloist, there are many situations where tensions (non-chord tones) will work. ...
Musical expectancy
... give rise to the formation of expectancies, and influence the content of these expectations ...
... give rise to the formation of expectancies, and influence the content of these expectations ...
Towards the Digital Music Library: Tune Retrieval from Acoustic Input
... segmented into a sequence of ascending or descending notes. After note onsets and offsets are determined, rhythmic values are assigned by quantizing note to the nearest sixteenth note according to the tempo set by the user. Adapting to the user’s tuning MT labels a note by its MIDI number according ...
... segmented into a sequence of ascending or descending notes. After note onsets and offsets are determined, rhythmic values are assigned by quantizing note to the nearest sixteenth note according to the tempo set by the user. Adapting to the user’s tuning MT labels a note by its MIDI number according ...
AP Music Theory Syllabus
... Compose simple melodies; then compose melodies with harmonic chord progressions. Transpose melodies for Bb, F, and Eb instruments ...
... Compose simple melodies; then compose melodies with harmonic chord progressions. Transpose melodies for Bb, F, and Eb instruments ...
lhs music theory homework 1.Basic note reading
... •Harmony is the study of how pitches, or notes, are arranged to make music. In order to explain these arrangements it is convenient to show the keys on a piano keyboard. On the keyboard each key plays a certain pitch. •Each white key corresponds to a letter A, B, C, D, E, F or G. The letters proceed ...
... •Harmony is the study of how pitches, or notes, are arranged to make music. In order to explain these arrangements it is convenient to show the keys on a piano keyboard. On the keyboard each key plays a certain pitch. •Each white key corresponds to a letter A, B, C, D, E, F or G. The letters proceed ...
Keyboard Layout
... essence playing notes called melodic interval. Conversely, when you play notes together (simultaneously), you are playing musical notes that are referred to as harmonic intervals. Half steps On the piano keyboard, the distance between any two adjacent keys, white or black, is a half-step. The half-s ...
... essence playing notes called melodic interval. Conversely, when you play notes together (simultaneously), you are playing musical notes that are referred to as harmonic intervals. Half steps On the piano keyboard, the distance between any two adjacent keys, white or black, is a half-step. The half-s ...
Musical Pipes - Particles Matter
... the right end of a piano) and materials that make fewer vibrations per second have a lower pitch (like what we hear from the keys on the left end of a piano). Depending on your musical ability and the age of your students, you can talk about the numerical frequency of the notes and graph length (in ...
... the right end of a piano) and materials that make fewer vibrations per second have a lower pitch (like what we hear from the keys on the left end of a piano). Depending on your musical ability and the age of your students, you can talk about the numerical frequency of the notes and graph length (in ...
Document
... □ Inversion of Dominant Seventh Chords (Handout) □ Inversion of Triads and Seventh Chords Additional Practice (Handout) ...
... □ Inversion of Dominant Seventh Chords (Handout) □ Inversion of Triads and Seventh Chords Additional Practice (Handout) ...
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 ...
A Guide to Musical Styles File
... melodies may begin like the first, but it ends more conclusively. Such a melodic type, which may be diagrammed a a′, is easy to sing. Baroque melodies tend to be less symmetrical, more elaborate, and harder to sing. Dynamics and the use of the Piano Classical composers’ interest in expressing shades ...
... melodies may begin like the first, but it ends more conclusively. Such a melodic type, which may be diagrammed a a′, is easy to sing. Baroque melodies tend to be less symmetrical, more elaborate, and harder to sing. Dynamics and the use of the Piano Classical composers’ interest in expressing shades ...
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.