Pitch Perception
... • Heard from two tones of strong intensity • “Difference tone” is f2-f1 • When two tones are a fifth apart, the difference tone is 1 octave below f1 • Other tones made from 2f1-f2 and 3f1-2f2 • Thought to come from “nonlinear” distortion of the primary wave form stimulus in cochlea - the vibration o ...
... • Heard from two tones of strong intensity • “Difference tone” is f2-f1 • When two tones are a fifth apart, the difference tone is 1 octave below f1 • Other tones made from 2f1-f2 and 3f1-2f2 • Thought to come from “nonlinear” distortion of the primary wave form stimulus in cochlea - the vibration o ...
Scales - University of Rochester
... Triads • Major triad with perfect major third and fifth 1:5/4:3/2 The minor third in the triad has ratio 3/2 divided by 5/4 = 6/5 and so is perfect or true. • However other thirds and fifths in the scale will not be true. ...
... Triads • Major triad with perfect major third and fifth 1:5/4:3/2 The minor third in the triad has ratio 3/2 divided by 5/4 = 6/5 and so is perfect or true. • However other thirds and fifths in the scale will not be true. ...
Introduction to Barbershop Harmony
... harmony parts are tuned to the melody part. Use of similar word sounds in good quality and balanced volume relationships by each of the voice parts reinforces the natural harmonic series (overtones) to produce the unique “ringing” sound characteristic of barbershop harmony. STRUCTURE AND NOTATION Th ...
... harmony parts are tuned to the melody part. Use of similar word sounds in good quality and balanced volume relationships by each of the voice parts reinforces the natural harmonic series (overtones) to produce the unique “ringing” sound characteristic of barbershop harmony. STRUCTURE AND NOTATION Th ...
![Edexcel_GCSE_Music_Student_Workbook[1]](http://s1.studyres.com/store/data/009150792_1-e6f6638e5c4e11a2a0822afaa1f7d71d-300x300.png)
ENFIELD GRAMMAR SCHOOL - MMA Music Teaching Professionals
... Motif B This is first sung by the tenors in bar 17. ...
... Motif B This is first sung by the tenors in bar 17. ...
A major triad (C or CM) uses the first (root), 3rd, and 5th of a major
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
Music Theory 101 (Basic)
... instance, C7b9b5 would be a C7 chord with the 5th flatted and a flatted 9th added. In other words, he formula would be 1, 3, b5, b7, b9. The diminished and augmented chords do not really fit in any of the families but they are most like the dominant chords in the way that they are used. Remember tha ...
... instance, C7b9b5 would be a C7 chord with the 5th flatted and a flatted 9th added. In other words, he formula would be 1, 3, b5, b7, b9. The diminished and augmented chords do not really fit in any of the families but they are most like the dominant chords in the way that they are used. Remember tha ...
The Lydian dominant scale The Lydian dominant scale is a very
... The Lydian dominant scale The Lydian dominant scale is a very common scale used in jazz and fusion music, and has a very unique, easy to recognize character, which characterizes a lot of fusion player ...
... The Lydian dominant scale The Lydian dominant scale is a very common scale used in jazz and fusion music, and has a very unique, easy to recognize character, which characterizes a lot of fusion player ...
AP Theory Syllabus - Chelmsford Public Schools
... well as those who desire it for enrichment. Though the main emphasis is placed on music of the Common Practice Period (Western tonality from1600-1900), music of other stylistic periods and cultures is also studied. Essential Questions: What is the difference between notes in different clefs? What ar ...
... well as those who desire it for enrichment. Though the main emphasis is placed on music of the Common Practice Period (Western tonality from1600-1900), music of other stylistic periods and cultures is also studied. Essential Questions: What is the difference between notes in different clefs? What ar ...
here
... - Polychords – simultaneous use of two or more simple chords (common in 20th century compositions) - Tone Cluster – truly simultaneous musical chord comprised of consecutive tones separated chromatically: sound very dissonant - Open fifths – the tonic and dominant note of the chord, without the medi ...
... - Polychords – simultaneous use of two or more simple chords (common in 20th century compositions) - Tone Cluster – truly simultaneous musical chord comprised of consecutive tones separated chromatically: sound very dissonant - Open fifths – the tonic and dominant note of the chord, without the medi ...
MSP_lecture3
... Construct as a geometric series - successive multiplication by 1.5 How many intervals to create – e.g., how to divide up the octave? Answer = 12 and still holds true today (for western music anyway) Interesting that we don’t use his system anymore but standardized on 12 ...
... Construct as a geometric series - successive multiplication by 1.5 How many intervals to create – e.g., how to divide up the octave? Answer = 12 and still holds true today (for western music anyway) Interesting that we don’t use his system anymore but standardized on 12 ...
Harmonic Techniques in Maurice Ravel`s Opera L
... Ravel creates ambiguity by freely using the raised seventh scale degree, F♯, without it leading to G. The result is harmonically ambiguous melodies which, in certain moments, sound more like the key of G major than G harmonic minor. As a result, the two voices sometimes sound as if they are singing ...
... Ravel creates ambiguity by freely using the raised seventh scale degree, F♯, without it leading to G. The result is harmonically ambiguous melodies which, in certain moments, sound more like the key of G major than G harmonic minor. As a result, the two voices sometimes sound as if they are singing ...
Effectiveness of your Initial Assessment
... An imperfect cadence appears at bars 7-8. Most of the music draws on root and first inversion chords with occasional 2nd inversion harmony. The typically Classical cadential Ic-V progression is used, e.g. bars 38 and 97. There are occasional chromatic chords, including a German augmented 6th in bar ...
... An imperfect cadence appears at bars 7-8. Most of the music draws on root and first inversion chords with occasional 2nd inversion harmony. The typically Classical cadential Ic-V progression is used, e.g. bars 38 and 97. There are occasional chromatic chords, including a German augmented 6th in bar ...
Dynamic Tonality - William A. Sethares
... novel musical resources—including polyphonic tuning bends, tuning modulations, and temperament modulations—collectively called Dynamic Tonality [14]. By expanding the framework of tonality to include these new resources, Dynamic Tonality may help to prepare art music for the 21st Century. ...
... novel musical resources—including polyphonic tuning bends, tuning modulations, and temperament modulations—collectively called Dynamic Tonality [14]. By expanding the framework of tonality to include these new resources, Dynamic Tonality may help to prepare art music for the 21st Century. ...
Tonal Harmony Chapter 1 Elements of Pitch
... A harmonic interval results when the notes are performed at the same time A melodic interval occurs when the notes are played successively The method of measuring for both type of intervals are the same Two parts to any interval name: o Numerical name: how far apart regardless of what accide ...
... A harmonic interval results when the notes are performed at the same time A melodic interval occurs when the notes are played successively The method of measuring for both type of intervals are the same Two parts to any interval name: o Numerical name: how far apart regardless of what accide ...
The Rise of 6 in the Nineteenth Century
... Western music, to be sure, has no equivalent of raga; after all, it is harmony, not melody, that largely dominates its theoretical and compositional discourse. Nevertheless, “modal,” or “syntactic” aspects of the major and minor scales reside érmly within the intuition of competent musicians, and we ...
... Western music, to be sure, has no equivalent of raga; after all, it is harmony, not melody, that largely dominates its theoretical and compositional discourse. Nevertheless, “modal,” or “syntactic” aspects of the major and minor scales reside érmly within the intuition of competent musicians, and we ...
Outlining the prime
... of the placement of the tones in the circle of the fifths(i.e. the note “E” is the third degree of the C major scale but it is four fifths away in the circle of fifths – in real distance 2octaves and a third. Taking this fact seriously offers new criteria for comparing the different Qualities of the ...
... of the placement of the tones in the circle of the fifths(i.e. the note “E” is the third degree of the C major scale but it is four fifths away in the circle of fifths – in real distance 2octaves and a third. Taking this fact seriously offers new criteria for comparing the different Qualities of the ...
Minor Scales
... lower it. These last two can apply to any scale degree, but least commonly with the perfect intervals. ...
... lower it. These last two can apply to any scale degree, but least commonly with the perfect intervals. ...
Symphony no. 26 in D Minor, `Lamentatione`: Movement I Haydn
... movement was fairly novel: Baroque composers had favoured shifts from tonic minor to tonic major between rather than within pieces or movements. Later in the Classical period (and subsequently) moves from minor to tonic major, even without an intervening break, sometimes had great colouristic and em ...
... movement was fairly novel: Baroque composers had favoured shifts from tonic minor to tonic major between rather than within pieces or movements. Later in the Classical period (and subsequently) moves from minor to tonic major, even without an intervening break, sometimes had great colouristic and em ...
Beyond Tonality
... Anton Webern’s Five Pieces for String Quartet uses limited number of building blocks usually consisting of four or five notes ...
... Anton Webern’s Five Pieces for String Quartet uses limited number of building blocks usually consisting of four or five notes ...
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.