non-serial criteria in the pitch organization of webern`s twelve
... p3/4 markedly for the listener. To begin with, we must ask the question as to whether the series is supposed to be an element by which the ear orientates its perception and appreciation of a work of this kind. Historically, the basic principles of the new twelve-note system merely respected and orga ...
... p3/4 markedly for the listener. To begin with, we must ask the question as to whether the series is supposed to be an element by which the ear orientates its perception and appreciation of a work of this kind. Historically, the basic principles of the new twelve-note system merely respected and orga ...
File - Harris Ac Music
... interval relationships (or distance) between the individual notes. The slightest adjustment of a note can change a happy sounding scale into a sad one. For example, a happy sounding major scale can be converted into a sad sounding minor scale simply by changing one note. Specific scales evoke specif ...
... interval relationships (or distance) between the individual notes. The slightest adjustment of a note can change a happy sounding scale into a sad one. For example, a happy sounding major scale can be converted into a sad sounding minor scale simply by changing one note. Specific scales evoke specif ...
Foulk - Western Michigan University
... Recognizing and Performing Intervals a list of melodies to help you learn to recognize and remember intervals collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
... Recognizing and Performing Intervals a list of melodies to help you learn to recognize and remember intervals collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
form.
... information on the screen, and click on the BEST of the choices. Be careful, though. If you choose the wrong answer, you’ll be taken back to the initial screen, and you’ll have to start over! ...
... information on the screen, and click on the BEST of the choices. Be careful, though. If you choose the wrong answer, you’ll be taken back to the initial screen, and you’ll have to start over! ...
Jazz Improvisation for Classical Musicians
... By forming a chord from this we end up with CEGB which, played together, form a C r or C major 7 chord. The other notes have either a major or perfect relationship with the C, so again, no problems. With each of the above chords, the 4th CAN sound less pleasing than other notes, but it can still be ...
... By forming a chord from this we end up with CEGB which, played together, form a C r or C major 7 chord. The other notes have either a major or perfect relationship with the C, so again, no problems. With each of the above chords, the 4th CAN sound less pleasing than other notes, but it can still be ...
The Elements of Music
... notes sounded simultaneously Consonance: harmony that is stable and restful to the ear Dissonance:tense and unstable harmony that demands onward motion to stable harmony (resolution) ...
... notes sounded simultaneously Consonance: harmony that is stable and restful to the ear Dissonance:tense and unstable harmony that demands onward motion to stable harmony (resolution) ...
word setting over a chromatic chord sequence
... The chromatic scale with twelve pitches, each a semitone apart. The word stems from the Greek word ‘chroma’ meaning ‘colour’ A half-step note (in Western tonal music) and the smallest interval between notes. A 3-note chord with a ‘root’ and the 3rd and 5th note about above it. Music that reflects th ...
... The chromatic scale with twelve pitches, each a semitone apart. The word stems from the Greek word ‘chroma’ meaning ‘colour’ A half-step note (in Western tonal music) and the smallest interval between notes. A 3-note chord with a ‘root’ and the 3rd and 5th note about above it. Music that reflects th ...
1 - USC Upstate
... 30. Form - The overall shape, organization, or structure of a musical composition. West African music tends to have the form be related to function (work, recreation, social, ritual, ceremonial) whereas European-American forms are "synthetic" pre-existing molds such as "sectional," "blues," or "thi ...
... 30. Form - The overall shape, organization, or structure of a musical composition. West African music tends to have the form be related to function (work, recreation, social, ritual, ceremonial) whereas European-American forms are "synthetic" pre-existing molds such as "sectional," "blues," or "thi ...
Chapter 7 Notes
... Using Harmony to Create Variations: Harmony: the vertical blocks of different tones that sound simultaneously. ◦ Chords! Three or four notes that form a harmonic unite Major/Minor Chords ...
... Using Harmony to Create Variations: Harmony: the vertical blocks of different tones that sound simultaneously. ◦ Chords! Three or four notes that form a harmonic unite Major/Minor Chords ...
musicianship project - 2011
... are also perfect 5ths intervals. The first three notes in the soprano and alto voice are major 3rd intervals, the first two notes skip. The fourth note in the soprano and alto voice in m.40 is a major 6th. In measure 41 the tenor and alto notes move up consecutively in eighth notes. The notes in the ...
... are also perfect 5ths intervals. The first three notes in the soprano and alto voice are major 3rd intervals, the first two notes skip. The fourth note in the soprano and alto voice in m.40 is a major 6th. In measure 41 the tenor and alto notes move up consecutively in eighth notes. The notes in the ...
AP Music Theory - Somerset Academy
... Relatively speaking – C major and A minor share the same key signature To create harmonic or melodic you must use accidentals ...
... Relatively speaking – C major and A minor share the same key signature To create harmonic or melodic you must use accidentals ...
File - Woodland Middle School Music
... to produce a pleasing sound Dissonance – notes sounded together that have a displeasing sound – usually on purpose, to provide musical suspense for the listener Octaves & Intervals We only have 7 note names in the musical alphabet (ABCDEFG) You can have a high A and a low A, and a lower A, a ...
... to produce a pleasing sound Dissonance – notes sounded together that have a displeasing sound – usually on purpose, to provide musical suspense for the listener Octaves & Intervals We only have 7 note names in the musical alphabet (ABCDEFG) You can have a high A and a low A, and a lower A, a ...
Moritz Hauptmann and the Theory of Suspensions
... the true fundamental bass, G, which lies directly above the actual bass, hence the term "chord of supposition."13The theoretical advantage that Rameauachieves from this ratherbizzareaccount is a unified conception of dissonanceas a harmonicseventh.But his view has some serious drawbacks.In the first ...
... the true fundamental bass, G, which lies directly above the actual bass, hence the term "chord of supposition."13The theoretical advantage that Rameauachieves from this ratherbizzareaccount is a unified conception of dissonanceas a harmonicseventh.But his view has some serious drawbacks.In the first ...
Glossary - terms used in music analysis
... C is the root of the chord C-E-G. In root position, the root is the lowest note of the chord. Secondary dominant seventh chord - a chromatic chord which temporarily functions as a dominant 7th to a chord that is not the tonic. For example, in C major, the chord D-F#-A-C could be used as a secondary ...
... C is the root of the chord C-E-G. In root position, the root is the lowest note of the chord. Secondary dominant seventh chord - a chromatic chord which temporarily functions as a dominant 7th to a chord that is not the tonic. For example, in C major, the chord D-F#-A-C could be used as a secondary ...
JAZZ SINGER`S INFO
... A. AABA. In this song form, the chord changes and melody are generally the same in each “A” section, but the “B” section differs. The “B” section of an AABA tune is also known as the bridge. (The lyrics are usually different in all four sections.) Each section is typically eight measures in length, ...
... A. AABA. In this song form, the chord changes and melody are generally the same in each “A” section, but the “B” section differs. The “B” section of an AABA tune is also known as the bridge. (The lyrics are usually different in all four sections.) Each section is typically eight measures in length, ...
$doc.title
... A HARMONIZED MAJOR SCALE is a specific pattern of chords derived from the major scale. A triad is built on each note of the major scale. For example, in the key, start on 1-3-5 then move up a scale step for each note (i.e. 1-3-5, 2-4-6, 3-5-7, 4-6-8, and so on). These combinations of notes form tria ...
... A HARMONIZED MAJOR SCALE is a specific pattern of chords derived from the major scale. A triad is built on each note of the major scale. For example, in the key, start on 1-3-5 then move up a scale step for each note (i.e. 1-3-5, 2-4-6, 3-5-7, 4-6-8, and so on). These combinations of notes form tria ...
NJCCS Elements of Music
... can exist in varying degrees. Some consonant chords are more stable than others, and some dissonant chords are more tense than others. Dissonant chords have been used with increasing freedom over the centuries, so that ...
... can exist in varying degrees. Some consonant chords are more stable than others, and some dissonant chords are more tense than others. Dissonant chords have been used with increasing freedom over the centuries, so that ...
File
... Relatively speaking – C major and A minor share the same key signature To create harmonic or melodic you must use accidentals ...
... Relatively speaking – C major and A minor share the same key signature To create harmonic or melodic you must use accidentals ...
intervals and scales
... An interval is the difference between two pitches; a semitone (or half step) is the smallest interval. If you imagine a piano keyboard, a semitone is the “distance” between a white piano key and an adjacent black piano key. You’ll also notice that there is no black note between E and F or between B ...
... An interval is the difference between two pitches; a semitone (or half step) is the smallest interval. If you imagine a piano keyboard, a semitone is the “distance” between a white piano key and an adjacent black piano key. You’ll also notice that there is no black note between E and F or between B ...
presentation source
... 1. Use just major third, divided into two equal intervals 2. This defines a wholetone interval - how many cents? (answer: 193.2 cents) ...
... 1. Use just major third, divided into two equal intervals 2. This defines a wholetone interval - how many cents? (answer: 193.2 cents) ...
PowerPoint Lecture Slides
... letter names: A B C D E F G There are also some pitches that fall in between the cracks and are named with flats and sharps. The pitch between C and D could be called C# or Db, depending on if it is perceived to be higher than C or lower than D. ...
... letter names: A B C D E F G There are also some pitches that fall in between the cracks and are named with flats and sharps. The pitch between C and D could be called C# or Db, depending on if it is perceived to be higher than C or lower than D. ...
Higher Revision Booklet - Glow Blogs
... Sounds finished – chord V to chord I Sounds finished – chord IV to chord I – tonic in both chords Sounds finished – ends on chord V Sounds unexpected – chord V to any chord except I In a minor tonality, the last chord is major. Major chord + flattened 7th - C E G Bb. Often used in cadences (V7 > I), ...
... Sounds finished – chord V to chord I Sounds finished – chord IV to chord I – tonic in both chords Sounds finished – ends on chord V Sounds unexpected – chord V to any chord except I In a minor tonality, the last chord is major. Major chord + flattened 7th - C E G Bb. Often used in cadences (V7 > I), ...
Lesson_SSS_-_Diatoni..
... Following an authentic cadence in m. 5, we find a series of chords descending by fifths. Comparing m. 6 with mm. 7-8, we find a repeated pattern in each measure, the only differences being the pitch level of each repetition. In the highest voice, the pattern begins on F in m. 6, and then repeats on ...
... Following an authentic cadence in m. 5, we find a series of chords descending by fifths. Comparing m. 6 with mm. 7-8, we find a repeated pattern in each measure, the only differences being the pitch level of each repetition. In the highest voice, the pattern begins on F in m. 6, and then repeats on ...
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.