41. George Gershwin Summertime from Porgy and Bess
... Avoidance of conventional perfect cadences. In bar 15, beat 4, the top three notes form part of a V7 chord, but instead of an F# in the bass, Gershwin slips chromatically down through C natural. In bars 21-22 a progression from E- G/A leads not to the expected D major, but to Bm with prominent seven ...
... Avoidance of conventional perfect cadences. In bar 15, beat 4, the top three notes form part of a V7 chord, but instead of an F# in the bass, Gershwin slips chromatically down through C natural. In bars 21-22 a progression from E- G/A leads not to the expected D major, but to Bm with prominent seven ...
Elements of Music
... motion or are very close to each other on the staff Disjunct – notes in melody move by large leaps. There are large spaces between the notes. Motif (like a ‘riff’ in guitar) – small building block of a melodic phrase Phrase – a musical sentence; usually 4 to 8 bars in length Ostinato - a short mel ...
... motion or are very close to each other on the staff Disjunct – notes in melody move by large leaps. There are large spaces between the notes. Motif (like a ‘riff’ in guitar) – small building block of a melodic phrase Phrase – a musical sentence; usually 4 to 8 bars in length Ostinato - a short mel ...
Tonal Harmony Chapter 12 Non Chord Tones 2
... It is a compositional device that begins as a chord tone becomes an NCT finally ends up as a chord tone gain when the harmony is in agreement with it Other NCTs are for decorating the harmony Pedal point has such strong tonal strength that the harmonies seem to be embellishing the pedal po ...
... It is a compositional device that begins as a chord tone becomes an NCT finally ends up as a chord tone gain when the harmony is in agreement with it Other NCTs are for decorating the harmony Pedal point has such strong tonal strength that the harmonies seem to be embellishing the pedal po ...
"The Elements of Music"
... • Repetition/contrast = the alternation of elements that are familiar versus new (for example, melodic themes). • Phrase = a short part of a piece of music, usually equivalent to what a person can sing or play in one breath. ...
... • Repetition/contrast = the alternation of elements that are familiar versus new (for example, melodic themes). • Phrase = a short part of a piece of music, usually equivalent to what a person can sing or play in one breath. ...
Text S2.
... harmonically related tones [2,3], they are not typically perceived in harmonically disparate chords (such as major or minor seventh dyads), or in broken chords where the notes are sounded sequentially with a time interval greater than ~45 ms [4]. With respect to musical intervals between speech harm ...
... harmonically related tones [2,3], they are not typically perceived in harmonically disparate chords (such as major or minor seventh dyads), or in broken chords where the notes are sounded sequentially with a time interval greater than ~45 ms [4]. With respect to musical intervals between speech harm ...
Document
... MELODY IN A COMPOSITION INCLUDES 1. THE PROMINENT MELODIC LINES AND THE REPETION AND VARIATION OF THES MELODIC LINES THROUGHOUT THE COMPOSITION. 2. THE RANGE AND CONTOUR OF MELODIC MATERIAL. 3. THE PHRASE STRUCTURE OF THE MELODIC LINES. 4. THE SCALE BASIS FOR MELODIC MATERIALS. 5. THE RELATIONSHIP A ...
... MELODY IN A COMPOSITION INCLUDES 1. THE PROMINENT MELODIC LINES AND THE REPETION AND VARIATION OF THES MELODIC LINES THROUGHOUT THE COMPOSITION. 2. THE RANGE AND CONTOUR OF MELODIC MATERIAL. 3. THE PHRASE STRUCTURE OF THE MELODIC LINES. 4. THE SCALE BASIS FOR MELODIC MATERIALS. 5. THE RELATIONSHIP A ...
MTO 1.1: Rothgeb, The Tristan Chord
... perhaps by letting the upper voice first leap to C and reach the B thence by descending a step; this might result in a cadential above the bass E. Another possibility, however, is to apply a slide (Schleifer) as in Example 2c. This ornament makes it possible for the treble to express the stepwise mo ...
... perhaps by letting the upper voice first leap to C and reach the B thence by descending a step; this might result in a cadential above the bass E. Another possibility, however, is to apply a slide (Schleifer) as in Example 2c. This ornament makes it possible for the treble to express the stepwise mo ...
Transposing Chord Symbols
... major thirteenth is added to the eleventh chords given above if, to relieve the texture, the eleventh is missing the chord remains a 13th; if, however, the eleventh is present but altered, this must be shown in the name of the chord Here are a number of other chords that feature in modern popular mu ...
... major thirteenth is added to the eleventh chords given above if, to relieve the texture, the eleventh is missing the chord remains a 13th; if, however, the eleventh is present but altered, this must be shown in the name of the chord Here are a number of other chords that feature in modern popular mu ...
Document
... Each musical note has a perceived pitch with a particular frequency (the frequency of the fundamental) Going up or down in frequency, the perceived pitch follows a pattern One cycle of pitch repetition is called an octave. ...
... Each musical note has a perceived pitch with a particular frequency (the frequency of the fundamental) Going up or down in frequency, the perceived pitch follows a pattern One cycle of pitch repetition is called an octave. ...
lesson 2: musical alphabet, scale degrees and solfeggio
... This diagram shows the relationship of scale degrees, solfa and note names in a "C Major" scale. If you were to play only the white notes on a piano, this is the scale that would be played. ...
... This diagram shows the relationship of scale degrees, solfa and note names in a "C Major" scale. If you were to play only the white notes on a piano, this is the scale that would be played. ...
Elements of Music POWERPOINT
... This is a group of notes (chords) played together and the relationship between a series of chords. This usually supports the melody, played simultaneously or as broken chords, giving music it’s TEXTURE. This is the vertical aspect of music. ...
... This is a group of notes (chords) played together and the relationship between a series of chords. This usually supports the melody, played simultaneously or as broken chords, giving music it’s TEXTURE. This is the vertical aspect of music. ...
cadences - UT School of Music
... A cadence is a resting point in music. Cadences occur at the end of phrases (statements of music). Some cadences are more conclusive than others; some cadences are final—they signal the end of a part of music—and some are non-final—they are temporary resting points. In all of music, there are four b ...
... A cadence is a resting point in music. Cadences occur at the end of phrases (statements of music). Some cadences are more conclusive than others; some cadences are final—they signal the end of a part of music—and some are non-final—they are temporary resting points. In all of music, there are four b ...
Seventh chords - Wilson Central High School Band
... POPULAR STYLES • This system is used in lead sheet notation and sometimes in conjunction with guitar tabs • A capital letter is used for the chord’s root. If a capital letter appears alone, it is a Major triad. • A letter name plus 7 assumes a Mm7 (dominant 7th) quality • Other seventh chord types u ...
... POPULAR STYLES • This system is used in lead sheet notation and sometimes in conjunction with guitar tabs • A capital letter is used for the chord’s root. If a capital letter appears alone, it is a Major triad. • A letter name plus 7 assumes a Mm7 (dominant 7th) quality • Other seventh chord types u ...
The Functional Tonal Musical System and its Mathematical
... other words, the coexistence of subjectivity and objectivity, of strict individualism versus collective being, which further implies an abstract average of everything that humans do, feel, think, act, etcetera. One might say that the way Homo Sapiens knew how to combine these two fundamental element ...
... other words, the coexistence of subjectivity and objectivity, of strict individualism versus collective being, which further implies an abstract average of everything that humans do, feel, think, act, etcetera. One might say that the way Homo Sapiens knew how to combine these two fundamental element ...
Harmony as a Strategy for Beneficial Change by Richard A. Schultz
... orchestra, an electronic synthesizer, and a brass ensemble. In each of these cases, the chord played is the same, even though the voices that have combined to create the chord are very different. The harmony created by each chord in this example has a decidedly different effect on the listener becau ...
... orchestra, an electronic synthesizer, and a brass ensemble. In each of these cases, the chord played is the same, even though the voices that have combined to create the chord are very different. The harmony created by each chord in this example has a decidedly different effect on the listener becau ...
CREATING CHORDS
... 1. Decide if you want your chords to be in the treble clef or bass clef. 2. Open the Finale Notepad file called chord_bass or chord_treble and save it to your server folder by renaming with your room# & name like this 217JudyChord. 3. Using whole notes, put your pattern of chords on the staff you de ...
... 1. Decide if you want your chords to be in the treble clef or bass clef. 2. Open the Finale Notepad file called chord_bass or chord_treble and save it to your server folder by renaming with your room# & name like this 217JudyChord. 3. Using whole notes, put your pattern of chords on the staff you de ...
The Augmented Sixth Chord
... The German chord is an interesting case because its quality is that of a major-minor 7th chord (although it doesn't resolve like one in its conventional use). Composers exploited the possibility of using a Gr+6 as a pivot chord in a modulation. For instance, the Gr+6 could become a V7 just by resolv ...
... The German chord is an interesting case because its quality is that of a major-minor 7th chord (although it doesn't resolve like one in its conventional use). Composers exploited the possibility of using a Gr+6 as a pivot chord in a modulation. For instance, the Gr+6 could become a V7 just by resolv ...
GCSE set works condensed info
... Changes according to the different sections (slow/meditative; regular pulse established; fast pace with exciting rhythms; moderate to fast pace) Sitar has sympathetic strings that are below the main 7 strings and therefore vibrate when the 7 strings are plucked; creates a ‘twangy’ sound. Tabla has 2 ...
... Changes according to the different sections (slow/meditative; regular pulse established; fast pace with exciting rhythms; moderate to fast pace) Sitar has sympathetic strings that are below the main 7 strings and therefore vibrate when the 7 strings are plucked; creates a ‘twangy’ sound. Tabla has 2 ...
Set Theory - ClarkRoss.ca
... are cases where two different set prime forms have some the same vector analysis, like: [G, Ab, Bb, D] and [G, Ab, B, C#] (do a vector analysis of both now) ☞ Two sets that share the same interval-class vector are said to be “Z-related.” • Do a vector analysis of a root -position C major chord. Then ...
... are cases where two different set prime forms have some the same vector analysis, like: [G, Ab, Bb, D] and [G, Ab, B, C#] (do a vector analysis of both now) ☞ Two sets that share the same interval-class vector are said to be “Z-related.” • Do a vector analysis of a root -position C major chord. Then ...
as a PDF
... Consequently, these notes are sensitive and have a specific way of resolving when the next functional category is achieved. Stabilizers (s) combine with foundation and active tones to produce complete triads. Most of the time they are inert, but sometimes they may also act like dissonances in terms ...
... Consequently, these notes are sensitive and have a specific way of resolving when the next functional category is achieved. Stabilizers (s) combine with foundation and active tones to produce complete triads. Most of the time they are inert, but sometimes they may also act like dissonances in terms ...
MUSIC - Glasgow Independent Schools
... instrument plays or sings a phrase, followed by a responding phrase played or sung by a different voice or instrument Theme & Variations: Initial theme returns in some variety in each section of the piece ...
... instrument plays or sings a phrase, followed by a responding phrase played or sung by a different voice or instrument Theme & Variations: Initial theme returns in some variety in each section of the piece ...
Perfect Intervals
... well, if you were to count the semitones that make up each interval, you’d notice that all the other ones are equal in size, but the b to f intervals are not: f to b is a semitone larger than a perfect fourth, and b to f is a semitone smaller than a perfect fifth. ...
... well, if you were to count the semitones that make up each interval, you’d notice that all the other ones are equal in size, but the b to f intervals are not: f to b is a semitone larger than a perfect fourth, and b to f is a semitone smaller than a perfect fifth. ...
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.