Musica Ficta and
... tonality involves an increase in structural complexity; or indeed that tonality depends primarily upon chordal, vertical relationships at all. It is sufficient here to note that many of Monteverdi’s works exploit novel techniques of tonal integration, not necessarily invented by the composer, and th ...
... tonality involves an increase in structural complexity; or indeed that tonality depends primarily upon chordal, vertical relationships at all. It is sufficient here to note that many of Monteverdi’s works exploit novel techniques of tonal integration, not necessarily invented by the composer, and th ...
Tonal desires
... As noted earlier, Body’s local-level pitch collections are almost always scalar in construction. These scales are usually formed from the same expanded resources that were introduced into the Western canon by early twentiethcentury Franco-Russian composers, especially Claude Debussy. In a thorough e ...
... As noted earlier, Body’s local-level pitch collections are almost always scalar in construction. These scales are usually formed from the same expanded resources that were introduced into the Western canon by early twentiethcentury Franco-Russian composers, especially Claude Debussy. In a thorough e ...
Music and Mathematics
... there are overtones that sound out with the fundamental frequency. These overtones are higher pitched, which would mean they have shorter wave lengths, since there are more cycles per second (Hz). The overtones are actually the different harmonics. The wave lengths are 1/2, 1/3, 1/4, 1/5, 1/6, e ...
... there are overtones that sound out with the fundamental frequency. These overtones are higher pitched, which would mean they have shorter wave lengths, since there are more cycles per second (Hz). The overtones are actually the different harmonics. The wave lengths are 1/2, 1/3, 1/4, 1/5, 1/6, e ...
1345544125
... 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 ...
Blues and the Pentatonic Scale
... "Classic Jazz" style arose with brass bands that were performing for parties and dances in the late 1800's and early 1900's. Many of the musical instruments had been salvaged from the Confederate War; the clarinet, cornet, trombone, tuba, banjo, bass, guitar, drums and occasionally a piano. Musical ...
... "Classic Jazz" style arose with brass bands that were performing for parties and dances in the late 1800's and early 1900's. Many of the musical instruments had been salvaged from the Confederate War; the clarinet, cornet, trombone, tuba, banjo, bass, guitar, drums and occasionally a piano. Musical ...
Kievan notation
... equivalent to a single beat. This beat is called the “takt” from the Latin word “tactus” (meaning “touch”, a much gentler word than “beat”), and is roughly equivalent to a walking pace or swinging your arms back and forth. To divide this beat in half, try swinging (or “beating”) your forearm down an ...
... equivalent to a single beat. This beat is called the “takt” from the Latin word “tactus” (meaning “touch”, a much gentler word than “beat”), and is roughly equivalent to a walking pace or swinging your arms back and forth. To divide this beat in half, try swinging (or “beating”) your forearm down an ...
PDF text - Music Theory Online
... suggested that the altered octave (the major seventh or the minor ninth) is crucial in giving many atonal chords this psychoacoustic property. In the present article I demonstrate this function of the altered octave using aural examples. [5] My discussion focuses on the formation of cohesive sonorit ...
... suggested that the altered octave (the major seventh or the minor ninth) is crucial in giving many atonal chords this psychoacoustic property. In the present article I demonstrate this function of the altered octave using aural examples. [5] My discussion focuses on the formation of cohesive sonorit ...
Playing Musical Tiles - SJU
... Callender’s model of continuous transformations is as follows.9 As above, an n-voice chord is a vector of real numbers hv1 , v2 , . . . , vn i, where vi represents the pitch of the ith voice. For example, Saariaho’s composition is a continuous interpolation from h−12, −3, −1i to h−8, −10, −7i; it ca ...
... Callender’s model of continuous transformations is as follows.9 As above, an n-voice chord is a vector of real numbers hv1 , v2 , . . . , vn i, where vi represents the pitch of the ith voice. For example, Saariaho’s composition is a continuous interpolation from h−12, −3, −1i to h−8, −10, −7i; it ca ...
www.classclef.com Page 1
... Chorale Hymn tune sung to a German religious text. Chorale prelude Short composition for organ, based on a hymn tune and often used to remind the congregation of the melody before the hymn is sung. Chord Combination of three or more tones sounded at once. Chordophone Instrument-such as a harp or lut ...
... Chorale Hymn tune sung to a German religious text. Chorale prelude Short composition for organ, based on a hymn tune and often used to remind the congregation of the melody before the hymn is sung. Chord Combination of three or more tones sounded at once. Chordophone Instrument-such as a harp or lut ...
Basic Music Theory - 547 Canuck Squadron
... Music is divided into equal parts by bar lines. The area between the two bar lines is called a measure or bar. Measures may contain notes, rests or a combination of both. ...
... Music is divided into equal parts by bar lines. The area between the two bar lines is called a measure or bar. Measures may contain notes, rests or a combination of both. ...
5A_SymbolicNotationCodes
... All musical notation is symbolic, but many sets of symbols have been developed to represent sound. They do not all represent the same features of sound. It seems unlikely that any of them represents all features of sound, because sound has an undetermined number of parameters. These are further elab ...
... All musical notation is symbolic, but many sets of symbols have been developed to represent sound. They do not all represent the same features of sound. It seems unlikely that any of them represents all features of sound, because sound has an undetermined number of parameters. These are further elab ...
Mathematical Music Theory 2 Grade level: 7-12 Math - SUPER-M
... You can lower the key of a favorite song using the same method. Try lowering the key of a song you like by 7 steps. Scales We now shift our attention to scales, beginning with the most common scale, the major scale. The major scale is characterized by the intervals at which notes are located, beginn ...
... You can lower the key of a favorite song using the same method. Try lowering the key of a song you like by 7 steps. Scales We now shift our attention to scales, beginning with the most common scale, the major scale. The major scale is characterized by the intervals at which notes are located, beginn ...
Word Format - Years 11 and 12 - School Curriculum and Standards
... This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet, for non-commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged as the copyright owner, and that ...
... This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet, for non-commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged as the copyright owner, and that ...
Chorus 8 Benchmarks
... incorporating the following: Execute correct singing posture including vertical body alignment, equal distribution of weight, and elevation of ribs. Execute the melody using appropriate breathing techniques. Critique the posture and breathing techniques of ensemble members or self. Perform rhyth ...
... incorporating the following: Execute correct singing posture including vertical body alignment, equal distribution of weight, and elevation of ribs. Execute the melody using appropriate breathing techniques. Critique the posture and breathing techniques of ensemble members or self. Perform rhyth ...
Unit 1 - Carroll County Schools
... *AH-P-SA-S-Mu1: begin to recognize and identify elements of music (rhythm, tempo, melody, harmony, form, timbre, dynamics) using musical terminology *AH-P-SA-S-Mu2: use the elements of music while performing, singing, playing instruments, moving, listening, reading music, writing music, and creating ...
... *AH-P-SA-S-Mu1: begin to recognize and identify elements of music (rhythm, tempo, melody, harmony, form, timbre, dynamics) using musical terminology *AH-P-SA-S-Mu2: use the elements of music while performing, singing, playing instruments, moving, listening, reading music, writing music, and creating ...
Appendix I: Microtonality in 20 Century Western Art Music: A
... (however, without the extensions to the eighth- and sixteenth-tone systems). His main output of microtonal music can be found among his sixteen string quartets, but there are also works for specifically built microtonal instruments such as his Suites and Fantasies for quarter-tone piano (a quarter-t ...
... (however, without the extensions to the eighth- and sixteenth-tone systems). His main output of microtonal music can be found among his sixteen string quartets, but there are also works for specifically built microtonal instruments such as his Suites and Fantasies for quarter-tone piano (a quarter-t ...
An Analysis of the Sanctus and Benedictus and Agnus Dei in James
... movement a nicely symmetrical form and allows for a perfect transition into either the Eucharistic Prayer (beginning on F< minor) when in liturgical contexts or the Agnus Dei (the first two pitches (C> and C<) of which are enharmonically the fourth and fifth notes in the F
... movement a nicely symmetrical form and allows for a perfect transition into either the Eucharistic Prayer (beginning on F< minor) when in liturgical contexts or the Agnus Dei (the first two pitches (C> and C<) of which are enharmonically the fourth and fifth notes in the F
The History and Evolution of the Musical Symbol
... A symbol prefixed to a five-line stave indicating the pitch range to which the written notes apply. The C clef is now comparatively rare, except for viola, cello, and bas soon; for most other instruments the G and F clefs are standard. Polyphony Music which contains more than one composed part at a ...
... A symbol prefixed to a five-line stave indicating the pitch range to which the written notes apply. The C clef is now comparatively rare, except for viola, cello, and bas soon; for most other instruments the G and F clefs are standard. Polyphony Music which contains more than one composed part at a ...
Latin Jazz Network
... emerges with a soaring spirit. This is what John Coltrane found most rewarding in the latter part of his career as he showed the way for numerous musicians to follow. And Elio Villafranca does so with wonderful spiritual fervor. In many respects this is a defining album for Villafranca. The music is ...
... emerges with a soaring spirit. This is what John Coltrane found most rewarding in the latter part of his career as he showed the way for numerous musicians to follow. And Elio Villafranca does so with wonderful spiritual fervor. In many respects this is a defining album for Villafranca. The music is ...
Sample Responses Q7 - AP Central
... 5. Unresolved sevenths or incorrectly resolved sevenths. 6. Other note-against-note dissonances (including fourths) that are not treated correctly, including Roman numerals that do not match with the given melody note and nonsensical ornamental tones. 7. Poor chord succession (e.g., V–IV or ii–iii) ...
... 5. Unresolved sevenths or incorrectly resolved sevenths. 6. Other note-against-note dissonances (including fourths) that are not treated correctly, including Roman numerals that do not match with the given melody note and nonsensical ornamental tones. 7. Poor chord succession (e.g., V–IV or ii–iii) ...
Music Theory Notes and Test
... The last bar line of a piece is written as a double bar line to show that the end has been reached: The last bar line of a piece is written as a double bar line to show that the end has been reached. ...
... The last bar line of a piece is written as a double bar line to show that the end has been reached: The last bar line of a piece is written as a double bar line to show that the end has been reached. ...
Music Metadata Influence - Rovi
... rhythmic, melodic and harmonic song characteristics. Our music metadata Influence package supports multiple platforms and devices, and incorporates the TiVo ID standard media identifier for efficient implementation. ...
... rhythmic, melodic and harmonic song characteristics. Our music metadata Influence package supports multiple platforms and devices, and incorporates the TiVo ID standard media identifier for efficient implementation. ...
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.