Automatic Chord Detection - People Pages
... As a second example, we loaded a sound recording of the first three measures of Beethoven’s Moonlight Sonata into AUDACITY.2 The score is shown at the top of Figure 4. We have put chord notations directly below the score. These chords are marked in terms of pitch classes only. For example, the first ...
... As a second example, we loaded a sound recording of the first three measures of Beethoven’s Moonlight Sonata into AUDACITY.2 The score is shown at the top of Figure 4. We have put chord notations directly below the score. These chords are marked in terms of pitch classes only. For example, the first ...
![Compositional trajectories [Medieval music]](http://s1.studyres.com/store/data/012781418_1-1acbf3c6fa6c77e5d5672bca000c933b-300x300.png)
Compositional trajectories [Medieval music]
... medieval theories of mode, whether derived empirically from melodies of the Western church or prescriptively from Hellenistic models, still do not account for all tonal features of Gregorian chant melodies. In composing post-Gregorian chants, some composers looked back to Gregorian idioms and turns ...
... medieval theories of mode, whether derived empirically from melodies of the Western church or prescriptively from Hellenistic models, still do not account for all tonal features of Gregorian chant melodies. In composing post-Gregorian chants, some composers looked back to Gregorian idioms and turns ...
Lesson_CCC_-_The_Min..
... To compensate for this shortcoming, the harmonic minor scale raises the seventh scale degree from a subtonic to a leading tone. This lends a stronger dominant function to the chords built on scale degrees 5 and 7 in minor. Likewise, it is often preferable for tonal melodies to be goal-oriented, part ...
... To compensate for this shortcoming, the harmonic minor scale raises the seventh scale degree from a subtonic to a leading tone. This lends a stronger dominant function to the chords built on scale degrees 5 and 7 in minor. Likewise, it is often preferable for tonal melodies to be goal-oriented, part ...
Ornamentation in Music
... A neighboring tone that is a step higher than the surrounding chord tones is called an upper neighboring tone or an upper auxiliary note while a neighboring tone that is a step lower than the surrounding chord tones is a lower neighboring tone or lower auxiliary note. Passing Tone: A passing tone is ...
... A neighboring tone that is a step higher than the surrounding chord tones is called an upper neighboring tone or an upper auxiliary note while a neighboring tone that is a step lower than the surrounding chord tones is a lower neighboring tone or lower auxiliary note. Passing Tone: A passing tone is ...
Lesson_CCC_-_The_Min..
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the natural minor scale, V would be minor (v) and vii° would be major (VII). Neither v nor VII urge toward tonic a ...
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the natural minor scale, V would be minor (v) and vii° would be major (VII). Neither v nor VII urge toward tonic a ...
Non-Chord Tones
... interval above the bass note in the chord over which it occurs. • The first part of the name is the generic interval of the bass to the suspension and the second part is the distance from the bass to the resolution. ...
... interval above the bass note in the chord over which it occurs. • The first part of the name is the generic interval of the bass to the suspension and the second part is the distance from the bass to the resolution. ...
Introduction to Music: Musical Forms
... While in Binary form, it’s customary to repeat the first section (giving a structure of ABA'); in ternary form, it is customary to repeat the first section and then repeat it at the end (giving the structure of AA'BA). Harmonically, Ternary form is different from Binary in that instead of ending the ...
... While in Binary form, it’s customary to repeat the first section (giving a structure of ABA'); in ternary form, it is customary to repeat the first section and then repeat it at the end (giving the structure of AA'BA). Harmonically, Ternary form is different from Binary in that instead of ending the ...
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 ...
File - Mr. Deininger`s Page
... • Doubling is exactly what it sounds like…you have to repeat a pitch in four (or more) part harmony with triads or (7th) chords • Usually you double the root (safest technique), or another chord tone if necessary for voice-leading purposes ...
... • Doubling is exactly what it sounds like…you have to repeat a pitch in four (or more) part harmony with triads or (7th) chords • Usually you double the root (safest technique), or another chord tone if necessary for voice-leading purposes ...
WAYS TO REMEMBER MUSIC THEORY
... For higher chord intervals it is easiest to think of them in the octave below. A ninth is the same note as a second, An eleventh is the same note as a fourth A thirteenth is the same note as a sixth. Where they are altered a + or a # means raise the note a semitone and where there is a - or a b mean ...
... For higher chord intervals it is easiest to think of them in the octave below. A ninth is the same note as a second, An eleventh is the same note as a fourth A thirteenth is the same note as a sixth. Where they are altered a + or a # means raise the note a semitone and where there is a - or a b mean ...
TagAnalysis, ``Moon River`
... Lead part. Then teach the Bass part with the Lead quietly singing along. The Bass provides the foundation and is consonant with the Lead part. Once the Bass part is learned, teach the Tenor part with the Lead/Bass quietly singing along. The Tenor provides a natural harmony with the Lead part. Finall ...
... Lead part. Then teach the Bass part with the Lead quietly singing along. The Bass provides the foundation and is consonant with the Lead part. Once the Bass part is learned, teach the Tenor part with the Lead/Bass quietly singing along. The Tenor provides a natural harmony with the Lead part. Finall ...
e-Workbook TECHNIQUES AND MATERIALS OF MUSIC Part I
... explanatory pages in Techniques and Materials of Music, and the corresponding examples found in Music for Analysis (7th edition, Oxford University Press). In each exercise, carefully analyze the given material in terms of its harmonic and melodic content as well as all aspects of patterning, so that ...
... explanatory pages in Techniques and Materials of Music, and the corresponding examples found in Music for Analysis (7th edition, Oxford University Press). In each exercise, carefully analyze the given material in terms of its harmonic and melodic content as well as all aspects of patterning, so that ...
Analysis And Impact Of Selected Compositions That
... intervals. The point of tension is between the E4 in the canto and the D4 in the quinto. Unlike the previous examples, the dissonance is properly prepared with another D4 preparing the dissonant D4 which is resolved by descending down by step to a . This would be an example of a traditionally co ...
... intervals. The point of tension is between the E4 in the canto and the D4 in the quinto. Unlike the previous examples, the dissonance is properly prepared with another D4 preparing the dissonant D4 which is resolved by descending down by step to a . This would be an example of a traditionally co ...
Jefferson College Course Syllabus MSC101 Fundamentals of Music
... Construct a major scale on any pitch using half-steps and whole steps. ...
... Construct a major scale on any pitch using half-steps and whole steps. ...
Grunge Music In Bloom: Musical Analysis of Nirvana`s Hit
... enrich and inspire their vocabulary, not less so than the analysis of classical music. In order to point out stylistic characteristics throughout this study, I will present examples from other songs by Nirvana and by other grunge bands, as well as examples from other genres in rock music. I will als ...
... enrich and inspire their vocabulary, not less so than the analysis of classical music. In order to point out stylistic characteristics throughout this study, I will present examples from other songs by Nirvana and by other grunge bands, as well as examples from other genres in rock music. I will als ...
The Line of Fifths
... in this case, the centre of gravity for the passage ± the mean position of events on the line of fifths ± will be exactly at D, and all the events of the passage will lie three steps or fewer from the centre of gravity (see Fig. 4). (This also seems to be roughly correct in practice; for actual musi ...
... in this case, the centre of gravity for the passage ± the mean position of events on the line of fifths ± will be exactly at D, and all the events of the passage will lie three steps or fewer from the centre of gravity (see Fig. 4). (This also seems to be roughly correct in practice; for actual musi ...
Alois Hába`s Suite für vier Posaunen
... alternation, Hába recommends contrary motion in the outer voices to smooth the transition from one field to the other.7 Although, as I show, in his own music he does not always follow this rule strictly. Hába’s concept of “tone centrality” is reflected in his use of oblique contrapuntal motion. In t ...
... alternation, Hába recommends contrary motion in the outer voices to smooth the transition from one field to the other.7 Although, as I show, in his own music he does not always follow this rule strictly. Hába’s concept of “tone centrality” is reflected in his use of oblique contrapuntal motion. In t ...
Lesson_CCC_-_The_Min..
... scale, V would be minor (v) and vii° would be major (VII). Neither v nor VII fulfill the dominant function very well. Listen again to Example 6 and then compare it to Example 7. Which version of the V chord has a stronger pull back to tonic? With the addition of a leading tone, Example 7 gives a muc ...
... scale, V would be minor (v) and vii° would be major (VII). Neither v nor VII fulfill the dominant function very well. Listen again to Example 6 and then compare it to Example 7. Which version of the V chord has a stronger pull back to tonic? With the addition of a leading tone, Example 7 gives a muc ...
Lesson_CCC_-_The_Min..
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key. Liste ...
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key. Liste ...
MTO 15.2: Brown, Axis Tonality
... music often features this phenomenon; perhaps the best-known example is the opening song of Dichterliebe, which hovers between A major and F minor. (13) And Mahler—whose influence on Shostakovich is better known—also pairs third-related keys in his music; for example, Christopher Lewis has discussed ...
... music often features this phenomenon; perhaps the best-known example is the opening song of Dichterliebe, which hovers between A major and F minor. (13) And Mahler—whose influence on Shostakovich is better known—also pairs third-related keys in his music; for example, Christopher Lewis has discussed ...
Tonality
Tonality is a musical system in which pitches or chords are arranged so as to induce a hierarchy of perceived relations, stabilities, and attractions. The pitch or chord with the greatest stability is called the tonic. The most common use of the term ""is to designate the arrangement of musical phenomena around a referential tonic in European music from about 1600 to about 1910"" (Hyer 2001). While today classical musics may practice or avoid any sort of tonality, harmony in popular musics remains tonal in some sense, and harmony in folk and jazz musics include many, if not all, modal or tonal characteristics, while having different properties from common-practice classical music.""All harmonic idioms in popular music are tonal, and none is without function"" (Tagg 2003, 534).""Tonality is an organized system of tones (e.g., the tones of a major or minor scale) in which one tone (the tonic) becomes the central point to which the remaining tones are related. In tonality, the tonic (tonal center) is the tone of complete relaxation, the target toward which other tones lead"" (Benward & Saker 2003, 36).""Tonal music is music that is unified and dimensional. Music is unified if it is exhaustively referable to a precompositional system generated by a single constructive principle derived from a basic scale-type; it is dimensional if it can nonetheless be distinguished from that precompositional ordering"" (Pitt 1995, 299).The term tonalité originated with Alexandre-Étienne Choron (1810) and was borrowed by François-Joseph Fétis in 1840 (Reti 1958,; Simms 1975, 119; Judd 1998a, 5; Heyer 2001; Brown 2005, xiii). According to Carl Dahlhaus, however, the term tonalité was only coined by Castil-Blaze in 1821 (Dahlhaus 1967, 960; Dahlhaus 1980, 51).Although Fétis used it as a general term for a system of musical organization and spoke of types de tonalités rather than a single system, today the term is most often used to refer to major–minor tonality, the system of musical organization of the common practice period. Major-minor tonality is also called harmonic tonality, diatonic tonality, common practice tonality, functional tonality, or just tonality.