Term - Wsfcs
... Pleasing combination of two or three tones played together in the background while a melody is being played. Harmony also refers to the study of chord ...
... Pleasing combination of two or three tones played together in the background while a melody is being played. Harmony also refers to the study of chord ...
Musical Terms: Musicians use certain words and phrases (that may
... Melody is the organization of pitches and note durations into a musically coherent (expressive) order. Melodies are often organized into segments called phrases. Phrases are similar to sentence structures in language. Themes and motives are melodies or melodic fragments that are usually used as a bu ...
... Melody is the organization of pitches and note durations into a musically coherent (expressive) order. Melodies are often organized into segments called phrases. Phrases are similar to sentence structures in language. Themes and motives are melodies or melodic fragments that are usually used as a bu ...
Review for Exam No.
... Is called the tonic, or keynote Assumes greater importance than the rest of the notes Serves as the home base around which others revolve All of the above ...
... Is called the tonic, or keynote Assumes greater importance than the rest of the notes Serves as the home base around which others revolve All of the above ...
Print version
... Emphasis on a note, word, or phrase The way a sound is started and ended The beginning of a sound One cycle of inspiration/expiration Two or more pitches sounding together Moving in half-steps Meter that is made up of simple meters 2/4+3/4 Mentally breaking down a rhythm into divisions Moving within ...
... Emphasis on a note, word, or phrase The way a sound is started and ended The beginning of a sound One cycle of inspiration/expiration Two or more pitches sounding together Moving in half-steps Meter that is made up of simple meters 2/4+3/4 Mentally breaking down a rhythm into divisions Moving within ...
Intro to Figured Bass
... third is to be chromatically altered, a standalone sharp, flat or natural is used, which refers to the colour of the third. The figure 8 also rarely appears, unless it represents the resolution of a suspension, e.g. 9-8. The art of figured bass, then, is to determine what intervals (including the om ...
... third is to be chromatically altered, a standalone sharp, flat or natural is used, which refers to the colour of the third. The figure 8 also rarely appears, unless it represents the resolution of a suspension, e.g. 9-8. The art of figured bass, then, is to determine what intervals (including the om ...
Popular Music Theory - The Academy Of Popular Music
... Seventh chord on the dominant: A minor 7 ...
... Seventh chord on the dominant: A minor 7 ...
pacaci
... between such gestures. This rule automatically identifies these melodical constituents by means of a patented set of context dependent rules. The boundaries are marked micropauses. • Double Duration: Decreases the IOI contrast for two adjacent notes having the nominal IOI ratio 2:1, e.g., a quarter ...
... between such gestures. This rule automatically identifies these melodical constituents by means of a patented set of context dependent rules. The boundaries are marked micropauses. • Double Duration: Decreases the IOI contrast for two adjacent notes having the nominal IOI ratio 2:1, e.g., a quarter ...
20th Cent Definitions
... A “flight”; a highly developed style of contrapuntal imitation where multiple parts or voices successively take on the same theme Harmony (chord) The simultaneous sounding of different notes Imitation One voice or instrument imitates another Improvisation Creation of music at the same time it is per ...
... A “flight”; a highly developed style of contrapuntal imitation where multiple parts or voices successively take on the same theme Harmony (chord) The simultaneous sounding of different notes Imitation One voice or instrument imitates another Improvisation Creation of music at the same time it is per ...
Second Inversion Triads
... They do not always follow the standard progressions from Section 5.3. Instead, they depend on nearby chords for their harmonic function. They almost always occur as one of four types: cadential, passing, arpeggio, or pedal (forming the acronym C-PAP, like a C-PAP breathing machine). While rare excep ...
... They do not always follow the standard progressions from Section 5.3. Instead, they depend on nearby chords for their harmonic function. They almost always occur as one of four types: cadential, passing, arpeggio, or pedal (forming the acronym C-PAP, like a C-PAP breathing machine). While rare excep ...
Tonal Harmony Chapter 15 Other Diatonic Seventh Chords
... known as hemiola (e.g. meter is in 34 but sound as if they are in 24), has been in used for many centures The subdominant seventh in minor with a raise 6th is a major-minor seventh chord, but it DOES NOT have a dominant function (raised 6th going to leading 7th tonic) The VI7 Chord The submedi ...
... known as hemiola (e.g. meter is in 34 but sound as if they are in 24), has been in used for many centures The subdominant seventh in minor with a raise 6th is a major-minor seventh chord, but it DOES NOT have a dominant function (raised 6th going to leading 7th tonic) The VI7 Chord The submedi ...
File
... indicate the bass positions of chords. We use numbers derived from the Baroque Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
... indicate the bass positions of chords. We use numbers derived from the Baroque Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
Chapter 3 Melody and Harmony
... Most music centers around a home pitch ─ the key center or tonic Most pieces usually begin, spend a good share of the time in, and return to their key center or tonic. ...
... Most music centers around a home pitch ─ the key center or tonic Most pieces usually begin, spend a good share of the time in, and return to their key center or tonic. ...
Blank UbD Planning Template
... How are pop/rock/hip hop songs constructed? Are there patterns to be found in musical composition? How does one build a chord? How do I play it? What is a harmonic progression? How do I play it? What does the chord progression have to do with the character/quality of the music. ...
... How are pop/rock/hip hop songs constructed? Are there patterns to be found in musical composition? How does one build a chord? How do I play it? What is a harmonic progression? How do I play it? What does the chord progression have to do with the character/quality of the music. ...
Learning Outcome
... Introduction to power chords Understanding of time signatures and sub-divisions up to eighth notes How to read tablature How to read standard notation Performance of basic tune How to play and identify the natural notes on all six strings to the third fret. The concepts of 3/4 and 4/4 time, pickup n ...
... Introduction to power chords Understanding of time signatures and sub-divisions up to eighth notes How to read tablature How to read standard notation Performance of basic tune How to play and identify the natural notes on all six strings to the third fret. The concepts of 3/4 and 4/4 time, pickup n ...
The 7-4-2 chord in early Italian recitative
... The second form is confusing because it normally refers to a bass suspension, in which the upper voices remain stationary while the bass descends a step. The third form is the most confusing because it suggests the very common 7 th used in a 7-6 progression or the cadential “dominant” seventh used i ...
... The second form is confusing because it normally refers to a bass suspension, in which the upper voices remain stationary while the bass descends a step. The third form is the most confusing because it suggests the very common 7 th used in a 7-6 progression or the cadential “dominant” seventh used i ...
Music Appreciation Class Fall 2014 Chapter 1
... Provides the basic harmonic and melodic material for a given piece of music. A selection of pitches within the interval of an octave. Major scales (diatonic) pattern: WWhWWWh in steps. Tonic- the home key, original note. Semitone- a half-step (ex. Bb to B, one note to the next on a piano) Also calle ...
... Provides the basic harmonic and melodic material for a given piece of music. A selection of pitches within the interval of an octave. Major scales (diatonic) pattern: WWhWWWh in steps. Tonic- the home key, original note. Semitone- a half-step (ex. Bb to B, one note to the next on a piano) Also calle ...
Melody - Cengage Learning
... Moves largely by step Uses only one note for each word or syllable Music expresses very well the idea of the words Has a very simple accompanying part ...
... Moves largely by step Uses only one note for each word or syllable Music expresses very well the idea of the words Has a very simple accompanying part ...
Se quema la chumbamba (Familia Valera Miranda)
... o Contrapuntal textures, involving imitation between voices (deh perchè fate b.10ff; doloroso b.33ff) o Antiphony, such as the opening exchange of ohimès between alto/tenor and canto/quinto from b.1 o Homophonic passages, when all voices move together (bs.5, 21-3, 28-32, etc.) o Note that bass line ...
... o Contrapuntal textures, involving imitation between voices (deh perchè fate b.10ff; doloroso b.33ff) o Antiphony, such as the opening exchange of ohimès between alto/tenor and canto/quinto from b.1 o Homophonic passages, when all voices move together (bs.5, 21-3, 28-32, etc.) o Note that bass line ...
study guide - Junior High Band
... Avoid emphasizing the fourth scale degree; use it only as a passing tone or neighbor tone. (Passing tones are non-chord tones played between chord tones, i.e., in Bb7 play D Eb F where D and F are longer than Eb. Neighbor tones are non-chord tones that are above or below chord tones, i.e., in Bb7 pl ...
... Avoid emphasizing the fourth scale degree; use it only as a passing tone or neighbor tone. (Passing tones are non-chord tones played between chord tones, i.e., in Bb7 play D Eb F where D and F are longer than Eb. Neighbor tones are non-chord tones that are above or below chord tones, i.e., in Bb7 pl ...
TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... chromatic mediant -- two chords / keys a third apart that have the same quality (major or minor) extended tertian sonorities ("tall" chords) -- 9th / 11th / 13th chords harmony -- the vertical aspect of music methods of establishing a tonal center -accent dynamics ostinato pedal point register reite ...
... chromatic mediant -- two chords / keys a third apart that have the same quality (major or minor) extended tertian sonorities ("tall" chords) -- 9th / 11th / 13th chords harmony -- the vertical aspect of music methods of establishing a tonal center -accent dynamics ostinato pedal point register reite ...
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.