Definitions List for the Exam
... and the ensuing relationships of intervals and chords; the vertical relationship of combined notes. Not all musics of the world rely on harmony for interest, but it is central to most Western music. T ...
... and the ensuing relationships of intervals and chords; the vertical relationship of combined notes. Not all musics of the world rely on harmony for interest, but it is central to most Western music. T ...
Intro to Musical Acoustics
... • European music is based on the notion of a diatonic pitch scale. The scale specifies the allowable musical pitches: 8 scale steps out of 12. • Problem: if integer frequency ratios are used (Just intonation), chords only sound in tune if based on fundamental (tonic) pitch. Changing musical “key” is ...
... • European music is based on the notion of a diatonic pitch scale. The scale specifies the allowable musical pitches: 8 scale steps out of 12. • Problem: if integer frequency ratios are used (Just intonation), chords only sound in tune if based on fundamental (tonic) pitch. Changing musical “key” is ...
Introduction to Musical Acoustics handout pdf
... • European music is based on the notion of a diatonic pitch scale. The scale specifies the allowable musical pitches: 8 scale steps out of 12. • Problem: if integer frequency ratios are used (Just intonation), chords only sound in tune if based on fundamental (tonic) pitch. Changing musical “key” is ...
... • European music is based on the notion of a diatonic pitch scale. The scale specifies the allowable musical pitches: 8 scale steps out of 12. • Problem: if integer frequency ratios are used (Just intonation), chords only sound in tune if based on fundamental (tonic) pitch. Changing musical “key” is ...
Unit 4 - Intervals
... More Things to Keep In Mind… IF an interval is perfect, THEN BOTH the top and bottom pitch is in the other’s major key. IF the same accidental is added to both the upper and lower pitch, THEN the interval remains the same. IF an accidental is added only to the bottom pitch, THEN the accidental h ...
... More Things to Keep In Mind… IF an interval is perfect, THEN BOTH the top and bottom pitch is in the other’s major key. IF the same accidental is added to both the upper and lower pitch, THEN the interval remains the same. IF an accidental is added only to the bottom pitch, THEN the accidental h ...
Chromaticism II: Tonicization/Modulation
... refers to passages (as short as a few measures, as long as entire sections within a movement) that lie entirely within a new key. Modulation generally employs two features: the cadential establishment of the new key; and a subsequent re-start in that new key. In music where cadential confirmation is ...
... refers to passages (as short as a few measures, as long as entire sections within a movement) that lie entirely within a new key. Modulation generally employs two features: the cadential establishment of the new key; and a subsequent re-start in that new key. In music where cadential confirmation is ...
Guidelines for the Analysis of Twentieth
... A. Many 20th-Century pieces set up their own formal worlds and categories. Be sensitive to structural repetition, but do not expect pieces to fit into the formal norms of traditional tonal music. B. 20th-century composers often tend to avoid the literal restatement of material—to emphasize continual ...
... A. Many 20th-Century pieces set up their own formal worlds and categories. Be sensitive to structural repetition, but do not expect pieces to fit into the formal norms of traditional tonal music. B. 20th-century composers often tend to avoid the literal restatement of material—to emphasize continual ...
Supporting Materials - Melody, Rhythm, Accompaniment
... Note: It is essential that modal melodies with unchanging tonal center be thoroughly explored before proceeding to examples implying harmonic change. The distinction between Ionian and "major" is especially problematic: "The Ionic suggest imminent harmonic (diatonic) treatment, but it is possible to ...
... Note: It is essential that modal melodies with unchanging tonal center be thoroughly explored before proceeding to examples implying harmonic change. The distinction between Ionian and "major" is especially problematic: "The Ionic suggest imminent harmonic (diatonic) treatment, but it is possible to ...
La Monte Young`s The Well-Tuned Piano Kyle Gann Perspectives of
... tuning in seven-limit just intonation ("seven-limit" meaning that no prime numbers larger than seven appear as factors). The tuning is based on Eb as 111, a choice that evolved from Young's saxophone improvisations. His favorite scale for improvising was G Dorian, in which he developed extended mate ...
... tuning in seven-limit just intonation ("seven-limit" meaning that no prime numbers larger than seven appear as factors). The tuning is based on Eb as 111, a choice that evolved from Young's saxophone improvisations. His favorite scale for improvising was G Dorian, in which he developed extended mate ...
What is music? File
... an art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and colour. a pattern of sounds made by musical instruments, voices, or computers, or a combination of these, intended to give pleasure to people listening to it: the scien ...
... an art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and colour. a pattern of sounds made by musical instruments, voices, or computers, or a combination of these, intended to give pleasure to people listening to it: the scien ...
Score Reading Vocabulary Key signature: The sharps or flats that
... whole step, flats lower the note a half step, the naturals return the note to the original pitch Notation: The art of writing musical notes on paper Note: A symbol used to indicate the duration and pitch of sound, as in whole notes, and quarter notes Pitch: The highness or lowness of a tone Score: T ...
... whole step, flats lower the note a half step, the naturals return the note to the original pitch Notation: The art of writing musical notes on paper Note: A symbol used to indicate the duration and pitch of sound, as in whole notes, and quarter notes Pitch: The highness or lowness of a tone Score: T ...
Texture, Dynamics, Cadences
... 2 types of cadence sound finished, like the piece could end at the cadence. 2 types of cadence sound unfinished, like the piece needs to continue or go off in a new direction. ...
... 2 types of cadence sound finished, like the piece could end at the cadence. 2 types of cadence sound unfinished, like the piece needs to continue or go off in a new direction. ...
igcse music notes
... relative minor (e.g. C major to A minor) major (e.g. A minor to C major) Difference between relative minor and relative major: 4 semitones apart (counting both original note and ending note e.g. A, A♯, B, C – and vice versa ...
... relative minor (e.g. C major to A minor) major (e.g. A minor to C major) Difference between relative minor and relative major: 4 semitones apart (counting both original note and ending note e.g. A, A♯, B, C – and vice versa ...
some musical terms and phrases
... Gospel music is too specific and influential to be referred to by any of the descriptors given under “Religious, Sacred, and Liturgical Music” below. It is a particular form of Protestant evangelical music (largely urban and performed by both black and white groups). In the twentieth century, it als ...
... Gospel music is too specific and influential to be referred to by any of the descriptors given under “Religious, Sacred, and Liturgical Music” below. It is a particular form of Protestant evangelical music (largely urban and performed by both black and white groups). In the twentieth century, it als ...
Music Terminology - Clinton Public Schools
... Everyone singing the same melody at the same time. ...
... Everyone singing the same melody at the same time. ...
Benward Chapter 6
... Organized in scales, with key signatures that show immediately what tonal materials can be expected in a piece of music and placed together simultaneously to produce intervals or chords ...
... Organized in scales, with key signatures that show immediately what tonal materials can be expected in a piece of music and placed together simultaneously to produce intervals or chords ...
Voicings for YWIH - Young Women In Harmony
... In barbershop music, the bass is the lowest of the four voice parts — a harmony part sung below the melody. The bass part, like the baritone part, is written in the bass clef, an octave lower than it is sung. Because one of the primary characteristics of barbershop music is its cone-shaped sound, th ...
... In barbershop music, the bass is the lowest of the four voice parts — a harmony part sung below the melody. The bass part, like the baritone part, is written in the bass clef, an octave lower than it is sung. Because one of the primary characteristics of barbershop music is its cone-shaped sound, th ...
File
... line on beats 2 and 3 of m.127, the phrase begins at m.126 and does not end until the end of m.129. M.130 starts a new phrase. The use of the decrescendo in m.127 supports that the D-flat could be sustained. The note is getting softer and seems to evaporate away. The rest is in m.127 because it is m ...
... line on beats 2 and 3 of m.127, the phrase begins at m.126 and does not end until the end of m.129. M.130 starts a new phrase. The use of the decrescendo in m.127 supports that the D-flat could be sustained. The note is getting softer and seems to evaporate away. The rest is in m.127 because it is m ...
consonances. (Unisons are rather hard to play on one pianot)
... F• to keep to the pattern. Ira composer were to write piece in G Major, he she would have to write a sharp sign every time an F] was required. If the piece were in C minor, the composer would have to write three flats all the time. Instead of dolng this, composers usually write the beginning of each ...
... F• to keep to the pattern. Ira composer were to write piece in G Major, he she would have to write a sharp sign every time an F] was required. If the piece were in C minor, the composer would have to write three flats all the time. Instead of dolng this, composers usually write the beginning of each ...
Shostakovich 1
... • Find some examples of bars 1 and 4 being developed not as part of a complete statement of the subject in the second half of the fugue • 58-61 bar 1 stated 4 times in a row! What does this suggest? • E.g. bar 66 soprano part looks quite like bar 4 ...
... • Find some examples of bars 1 and 4 being developed not as part of a complete statement of the subject in the second half of the fugue • 58-61 bar 1 stated 4 times in a row! What does this suggest? • E.g. bar 66 soprano part looks quite like bar 4 ...
A Crash Course in Renaissance Counterpoint
... This is a little complex, however. Sometimes there are so-called ‘consonant’ fourths, as in the common cadential harmonic figure 3443 over the dominant. Here the dissonant fourth on the third beat is ‘prepared’ on the second beat (but over the same bass note!). ...
... This is a little complex, however. Sometimes there are so-called ‘consonant’ fourths, as in the common cadential harmonic figure 3443 over the dominant. Here the dissonant fourth on the third beat is ‘prepared’ on the second beat (but over the same bass note!). ...
the materials of melody #2
... In my first article about the use of melodic techniques in jazz improvisation I began by defining melody and melodic improvising. In this article I would like to introduce the musical materials from which melody is created by more deeply defining melody. As we begin to understand the building blocks ...
... In my first article about the use of melodic techniques in jazz improvisation I began by defining melody and melodic improvising. In this article I would like to introduce the musical materials from which melody is created by more deeply defining melody. As we begin to understand the building blocks ...
Confutatis from Mozart`s Requiem One of the most renowned and
... A-minor. A minor is the relative minor of C major. That means that although these two keys have different starting pitches, they both have no sharps and no flats. However, there is an ...
... A-minor. A minor is the relative minor of C major. That means that although these two keys have different starting pitches, they both have no sharps and no flats. However, there is an ...
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.