Timpani
... Blends well with woodwinds Pedal sustains pitch. Notes are not rolled unless specified. ...
... Blends well with woodwinds Pedal sustains pitch. Notes are not rolled unless specified. ...
ARRANGING FOR STRINGS Part 2
... studio, but sounds a bit thin and weak in live performances. Therefore, another instrument, such as the oboe, should double this line at the octave below, in live performances. These effective string combinations, which I have used in the recording studio, work well together. • 9 violins, (5/4) 2 vi ...
... studio, but sounds a bit thin and weak in live performances. Therefore, another instrument, such as the oboe, should double this line at the octave below, in live performances. These effective string combinations, which I have used in the recording studio, work well together. • 9 violins, (5/4) 2 vi ...
"Off the Record: Performing Practices in Romantic Piano Playing" by
... would be quite superfluous, since Beethoven richly develops the pivotal diminishedseventh in the ensuing extended transition passage, with the music falling into the depths of the bass until it hits the lowest available F at m. 20 of the ensuing Allegro ma non troppo. This is the true beginning of t ...
... would be quite superfluous, since Beethoven richly develops the pivotal diminishedseventh in the ensuing extended transition passage, with the music falling into the depths of the bass until it hits the lowest available F at m. 20 of the ensuing Allegro ma non troppo. This is the true beginning of t ...
Shepard Tones - Virtual Math Museum
... C (the center of our bell curve) and three octaves up and three octaves down. Thus the first or “A” Shepard tone consists of simultaneously playing the following frequencies (in Hertz): 55, 110, 220, 440, 880 1760, 3520, with each frequency being played at the intensity given by the height of the Ga ...
... C (the center of our bell curve) and three octaves up and three octaves down. Thus the first or “A” Shepard tone consists of simultaneously playing the following frequencies (in Hertz): 55, 110, 220, 440, 880 1760, 3520, with each frequency being played at the intensity given by the height of the Ga ...
Program - Michael Harrison, composer and pianist
... In addition to the Pythagorean comma, there are many other commas that result from other slight mathematical differences in the calculation of tones. In the development of Western music, efforts were made by composers and theorists to emphasize consonance and to minimize and regulate dissonance. Cer ...
... In addition to the Pythagorean comma, there are many other commas that result from other slight mathematical differences in the calculation of tones. In the development of Western music, efforts were made by composers and theorists to emphasize consonance and to minimize and regulate dissonance. Cer ...
Mazzola on Music Theory
... Mazzola's "quantum" (fundamental mass notion) A collection of notes possessing internal symmetries. These symmetries are intended to transmit an "invariant" or "quantum" from one key to the next in modulation. (He's refering to a generalization of the technique of enharmonic modulation) There are mo ...
... Mazzola's "quantum" (fundamental mass notion) A collection of notes possessing internal symmetries. These symmetries are intended to transmit an "invariant" or "quantum" from one key to the next in modulation. (He's refering to a generalization of the technique of enharmonic modulation) There are mo ...
Page 1 of 8 NAHOO || Maths || The Relationship between
... extending the early musical scale. He investigated the exact series of 2/1, 3/2, 4/3, … and then compounded these to give ratios such as 5/3 found from 4/3 and 5/4[1]. Further analysis on Ptolemy’s influence in Western music will be referred to after determining tempering, required for the existence ...
... extending the early musical scale. He investigated the exact series of 2/1, 3/2, 4/3, … and then compounded these to give ratios such as 5/3 found from 4/3 and 5/4[1]. Further analysis on Ptolemy’s influence in Western music will be referred to after determining tempering, required for the existence ...
Unraveling Ravel - Macro Analysis Creative Research Organization
... many extended chords, including a number of chords that are best analyzed as ninth, eleventh, or thirteenth chords. A thirteenth chord contains every pitch of a diatonic scale. Even a ninth chord has five of the seven pitches in the diatonic scale. Add to that the confusion of omitted tones and many ...
... many extended chords, including a number of chords that are best analyzed as ninth, eleventh, or thirteenth chords. A thirteenth chord contains every pitch of a diatonic scale. Even a ninth chord has five of the seven pitches in the diatonic scale. Add to that the confusion of omitted tones and many ...
Tonal Function in Harmonic Scales
... In any conventional tuning system that has no step size smaller than a semitone,6 and devoid of any harmonic context,7 the intervals of: unison (which approximate frequency ratios of 1:2(n-1)); perfect fifth (which approximate frequency ratios of 2:3×2(n-1)); and perfect fourth (which approximate fr ...
... In any conventional tuning system that has no step size smaller than a semitone,6 and devoid of any harmonic context,7 the intervals of: unison (which approximate frequency ratios of 1:2(n-1)); perfect fifth (which approximate frequency ratios of 2:3×2(n-1)); and perfect fourth (which approximate fr ...
The Tetrachord (Ancient)
... Evidentially the phenomenon of Just Intervals was discovered and used for tuning the fourths and fifths for two reasons: first, it is much easier to tune an interval without beats than it is to temper an interval and guess how many beats it should contain; second, the fifths and thirds can not be c ...
... Evidentially the phenomenon of Just Intervals was discovered and used for tuning the fourths and fifths for two reasons: first, it is much easier to tune an interval without beats than it is to temper an interval and guess how many beats it should contain; second, the fifths and thirds can not be c ...
russian picnic
... gliss. (glissando) - A rapid succession of notes by sliding the fingers quickly over the keys or strings. It is often played on the piano or harp fermata – an indefinitely-sustained note or chord or rest chromatic scale – a scale consisting of all 12 semi-tones (half-steps) QuickTime™ and a TIFF (Un ...
... gliss. (glissando) - A rapid succession of notes by sliding the fingers quickly over the keys or strings. It is often played on the piano or harp fermata – an indefinitely-sustained note or chord or rest chromatic scale – a scale consisting of all 12 semi-tones (half-steps) QuickTime™ and a TIFF (Un ...
Peripetie for 5 Orchestral Pieces, Op. 16 by Schoenberg (1909)
... short pieces for Orchestra, with the idea of showing them to important musical figures of the time. These were sadly not well received. Schoenberg liked to conceal things within his compositions, believing that intelligent and attentive listeners would see deeper meaning in the music. Titles wer ...
... short pieces for Orchestra, with the idea of showing them to important musical figures of the time. These were sadly not well received. Schoenberg liked to conceal things within his compositions, believing that intelligent and attentive listeners would see deeper meaning in the music. Titles wer ...
Musical Rhetoric Summary
... sounds within a single phrase, for emphasis. They need not be adjacent, but can be separated by other materials, as long as the phrase continues as one unit. Often rhythmic in nature. Symploce – interlacing of musical elements. A combination of anaphora and epistrophe. Beginning a series of phrases ...
... sounds within a single phrase, for emphasis. They need not be adjacent, but can be separated by other materials, as long as the phrase continues as one unit. Often rhythmic in nature. Symploce – interlacing of musical elements. A combination of anaphora and epistrophe. Beginning a series of phrases ...
Rondo, 3rd Movement from Sonatina in F Op 168
... A sonatina is a little sonata (meaning ‘piece for instrument’) and has between 2 and 3 contrasting movements. The last movement tends to be lively and is often in rondo form. Rondo means ‘round’ and refers to a musical structure ABACADA where A is the theme that comes back around. In this sonatina, ...
... A sonatina is a little sonata (meaning ‘piece for instrument’) and has between 2 and 3 contrasting movements. The last movement tends to be lively and is often in rondo form. Rondo means ‘round’ and refers to a musical structure ABACADA where A is the theme that comes back around. In this sonatina, ...
Haydn: Symphony No. 26 in D minor, `Lamentatione`: Movement I
... To some degree Sturm und Drang is a precursor of Romanticism. Aspects of our set movement that link it to Sturm und Drang include: • Beginning in a minor key. Most mid-18th-century pieces began in major keys, which were more ‘pleasing’, less disturbing. • The tense harmony in some of the minor-key w ...
... To some degree Sturm und Drang is a precursor of Romanticism. Aspects of our set movement that link it to Sturm und Drang include: • Beginning in a minor key. Most mid-18th-century pieces began in major keys, which were more ‘pleasing’, less disturbing. • The tense harmony in some of the minor-key w ...
Sound Waves Resonance, Frequency and the Musical Scale
... middle C and high C on a piano. This is known as an Octave. Octaves go on forever above and below our musical scale, they are simply halving's or doublings of frequency. ...
... middle C and high C on a piano. This is known as an Octave. Octaves go on forever above and below our musical scale, they are simply halving's or doublings of frequency. ...
Jewish Music - Hazzan Rob Menes
... Jewish musicologists have devoted great effort to defining nusah as it relates to the musical delivery of the liturgy. Mark Slobin, in Chosen Voices1, presents an interesting assortment of views on the meaning of nusah: “The nusach is the cement that holds the service together.” “These melodies and ...
... Jewish musicologists have devoted great effort to defining nusah as it relates to the musical delivery of the liturgy. Mark Slobin, in Chosen Voices1, presents an interesting assortment of views on the meaning of nusah: “The nusach is the cement that holds the service together.” “These melodies and ...
Unit 2: The Staff, Notes, and Pitches
... pitch If the notes appear LOWER on the staff, they sound LOWER in pitch ...
... pitch If the notes appear LOWER on the staff, they sound LOWER in pitch ...
Scales - SmartSite
... A useful tool in understanding the major-minor tonal system is a diagram known as the circle of fifths (next screen). Each segment of the circle is a 5th higher than the pitch to its immediate left: you start at the top with no sharps or flats and proceed clockwise by adding sharps and counterclockw ...
... A useful tool in understanding the major-minor tonal system is a diagram known as the circle of fifths (next screen). Each segment of the circle is a 5th higher than the pitch to its immediate left: you start at the top with no sharps or flats and proceed clockwise by adding sharps and counterclockw ...
Steel Drums
... Traced back to African slaves on the island in the 16th century Music was their only link to Africa The Africans stomped on bamboo, and they called themselves tamboo bamboo bands The upper class banned the instrument ...
... Traced back to African slaves on the island in the 16th century Music was their only link to Africa The Africans stomped on bamboo, and they called themselves tamboo bamboo bands The upper class banned the instrument ...
Hybrid Thinking in Meloharmony
... In my own work I like to think in terms of whole-number ratios, spanning from more common intervals such as 2/1, which represents our octave, to less common intervals with no conventional names, such as the frequency ratio 21/16, which could be identified as a "narrow fourth". My interest lies in th ...
... In my own work I like to think in terms of whole-number ratios, spanning from more common intervals such as 2/1, which represents our octave, to less common intervals with no conventional names, such as the frequency ratio 21/16, which could be identified as a "narrow fourth". My interest lies in th ...
Physics of Music
... The analysis of both language and music in a scientific sense therefore happened after they were initially used and created. In the sixth century B.C., Pythagoras noticed that when he ‘stopped’ a string vibrating at certain points, the notes produced sounded pleasing to the ear. The ratio between th ...
... The analysis of both language and music in a scientific sense therefore happened after they were initially used and created. In the sixth century B.C., Pythagoras noticed that when he ‘stopped’ a string vibrating at certain points, the notes produced sounded pleasing to the ear. The ratio between th ...
Prof
... as we move to the right. The white keys have names going from A to G, and then repeating over and over. However, strangely it is C that is considered the first key, so the actual sequence of notes is: C,D,E,F,G,A,B and not A through G. (This is important for translating notes to numbers.) The black ...
... as we move to the right. The white keys have names going from A to G, and then repeating over and over. However, strangely it is C that is considered the first key, so the actual sequence of notes is: C,D,E,F,G,A,B and not A through G. (This is important for translating notes to numbers.) The black ...
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.