General Principles of Harmony by Alan Belkin
... is actually heard, by even the most trained and attentive listener, and can thus lead the analyst or the aspiring composer to ignore factors much more relevant to the sonic result. We may draw a parallel here to the exaggerated attention to chord roots which characterized harmonic theory before Sche ...
... is actually heard, by even the most trained and attentive listener, and can thus lead the analyst or the aspiring composer to ignore factors much more relevant to the sonic result. We may draw a parallel here to the exaggerated attention to chord roots which characterized harmonic theory before Sche ...
Higher Revision Booklet - Glow Blogs
... “…the rhythmic feature” = anacrusis/scotch snap/3 against 2/ cross rhythms (etc.) “…the ornament” = acciaccatura/mordent/trill “a ….. scale” = major/harmonic or melodic minor/chromatic/pentatonic/ whole tone ...
... “…the rhythmic feature” = anacrusis/scotch snap/3 against 2/ cross rhythms (etc.) “…the ornament” = acciaccatura/mordent/trill “a ….. scale” = major/harmonic or melodic minor/chromatic/pentatonic/ whole tone ...
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 ...
The Geometry of Musical Chords REPORTS
... provide numerical alternatives to the familiar letter-names of Western music theory: C 0 0, C /D> 0 1, D 0 2, D quarter-tone sharp 0 2.5, etc. Western music typically uses only a discrete lattice of points in this space. Here I consider the more general, continuous case. This is because the symmetri ...
... provide numerical alternatives to the familiar letter-names of Western music theory: C 0 0, C /D> 0 1, D 0 2, D quarter-tone sharp 0 2.5, etc. Western music typically uses only a discrete lattice of points in this space. Here I consider the more general, continuous case. This is because the symmetri ...
Modal Jazz - Jonathan Dimond
... Classic modal jazz compositions contain very few chords, allowing each individual mode to be used for a long period of time. An example of this is “So What” by Miles Davis, from the album Kind of Blue (1959). This only uses two chords during its 32 measure duration – Dm and Ebm. Due to the repetitio ...
... Classic modal jazz compositions contain very few chords, allowing each individual mode to be used for a long period of time. An example of this is “So What” by Miles Davis, from the album Kind of Blue (1959). This only uses two chords during its 32 measure duration – Dm and Ebm. Due to the repetitio ...
On the Emergence of the Major-Minor System
... the existence of stable pitch hierarchies for pelog and slendro scales. The cross-cultural validity of the pitch-schema concept remains to be thoroughly investigated. Although not all cultures make use of stable pitch-related patterns, most do, and many musical cultures exhibit some sort of hierarch ...
... the existence of stable pitch hierarchies for pelog and slendro scales. The cross-cultural validity of the pitch-schema concept remains to be thoroughly investigated. Although not all cultures make use of stable pitch-related patterns, most do, and many musical cultures exhibit some sort of hierarch ...
Seventh chords - Wilson Central High School Band
... • Symbols for 7th chord inversions: • 7 for root position • 6/5 for first inversion • 4/3 for second inversion • 4/2 for third inversion • To find the root of a 7th chord, always find the upper note of the 2nd. ...
... • Symbols for 7th chord inversions: • 7 for root position • 6/5 for first inversion • 4/3 for second inversion • 4/2 for third inversion • To find the root of a 7th chord, always find the upper note of the 2nd. ...
GCSE Music Revision Guide
... Inversions: Triads can be described as being in root position, 1st inversion and second inversion. Chords of four notes can have a third inversion. ...
... Inversions: Triads can be described as being in root position, 1st inversion and second inversion. Chords of four notes can have a third inversion. ...
Proceedings of the 14th International Conference on Music
... examined [2], [3]. There are several reasons that could explain why the effect of harmony on tune identification has not been studied more often. First, listeners can easily identify a song or piece of music based on the pitch and rhythmic features of its melody alone, without hearing its harmonic a ...
... examined [2], [3]. There are several reasons that could explain why the effect of harmony on tune identification has not been studied more often. First, listeners can easily identify a song or piece of music based on the pitch and rhythmic features of its melody alone, without hearing its harmonic a ...
Lesson_SSS_-_Diatoni..
... Beginning with the vi chord on the anacrusis to m. 14, a series of arpeggios in the left hand outline a descending fifth sequence through the remainder of that measure. In m. 15, the descending-fifth harmonic pattern set into motion by the sequence continues through V, I, and IV, despite the altere ...
... Beginning with the vi chord on the anacrusis to m. 14, a series of arpeggios in the left hand outline a descending fifth sequence through the remainder of that measure. In m. 15, the descending-fifth harmonic pattern set into motion by the sequence continues through V, I, and IV, despite the altere ...
a geometric model for the analysis of pop music
... pieces. The Tonnetze can be used to achieve similar transformations on trajectories owing to the generic topology shared by the different Tonnetze used in this study, which all appear as triangular tessellations. Thus, two Tonnetze are related by several isomorphisms and a trajectory drawn in one sp ...
... pieces. The Tonnetze can be used to achieve similar transformations on trajectories owing to the generic topology shared by the different Tonnetze used in this study, which all appear as triangular tessellations. Thus, two Tonnetze are related by several isomorphisms and a trajectory drawn in one sp ...
AP Theory Syllabus - Pequannock Township High School
... Student Outcomes The students will be able to: a. Notate pitch and rhythm in accordance with standard notation practices. b. Read melodies in treble, bass, and movable C clefs. c. Write, sing, and play major scales and all three forms of minor scales. d. Recognize by ear and by sight all intervals w ...
... Student Outcomes The students will be able to: a. Notate pitch and rhythm in accordance with standard notation practices. b. Read melodies in treble, bass, and movable C clefs. c. Write, sing, and play major scales and all three forms of minor scales. d. Recognize by ear and by sight all intervals w ...
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 ...
Musical Elements and Compositional Devices
... Major and minor 2nds and 7ths; All augmented and diminished intervals The chords that are built up from these: Dominant and diminished 7th chords Chords with added notes ...
... Major and minor 2nds and 7ths; All augmented and diminished intervals The chords that are built up from these: Dominant and diminished 7th chords Chords with added notes ...
paper - Personal Web Pages
... ninth) and its inversion (a seventh), and the “just” tritone (first in the harmonic series) of 583¢/617¢. Dissonances include the simple 182¢ second, all seconds simple and compound smaller than 182¢ with their inversions, and all tritones other then the “just.” These categorizations provide a worka ...
... ninth) and its inversion (a seventh), and the “just” tritone (first in the harmonic series) of 583¢/617¢. Dissonances include the simple 182¢ second, all seconds simple and compound smaller than 182¢ with their inversions, and all tritones other then the “just.” These categorizations provide a worka ...
Modal Jazz and Miles Davis: George Russell`s Influence and the
... In 1945, Russell sat down at the piano with a very specific goal: to find a scale that best captured the “sound” of a major chord. In such a scale, every note would reflect the overall sonority of the tonic triad so that, when used as a source for improvisation, the entire scale would consistently “ ...
... In 1945, Russell sat down at the piano with a very specific goal: to find a scale that best captured the “sound” of a major chord. In such a scale, every note would reflect the overall sonority of the tonic triad so that, when used as a source for improvisation, the entire scale would consistently “ ...
Vivaldi: Concerto in D minor, Op. 3 No. 11 (for component 3
... ending on the dominant seventh (A7) of the tonic key. There are occasional seventh chords in first inversion. These are marked 65 as at the end of the fugal movement. Also in third inversion, marked 42. There are a few diminished seventh chords, as in the second bar of the third movement. Suspension ...
... ending on the dominant seventh (A7) of the tonic key. There are occasional seventh chords in first inversion. These are marked 65 as at the end of the fugal movement. Also in third inversion, marked 42. There are a few diminished seventh chords, as in the second bar of the third movement. Suspension ...
Whole tone scale
... Due to this symmetry the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords whose, "individual structural differences can been seen to result only from a difference in th ...
... Due to this symmetry the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords whose, "individual structural differences can been seen to result only from a difference in th ...
Lesson EEE: The Dominant Seventh Chord
... degree serves the same purpose as in the harmonic minor composite: it creates a pull toward the tonic. Just as the V chord in Example 7 resolves to tonic harmony, the leading tone of the melodic minor scale resolves to scale degree 8. This type of goal-directed melodic motion is at the heart of tona ...
... degree serves the same purpose as in the harmonic minor composite: it creates a pull toward the tonic. Just as the V chord in Example 7 resolves to tonic harmony, the leading tone of the melodic minor scale resolves to scale degree 8. This type of goal-directed melodic motion is at the heart of tona ...
Lesson_CCC_-_The_Min..
... degree serves the same purpose as in the harmonic minor composite: it creates a pull toward the tonic. Just as the V chord in Example 7 resolves to tonic harmony, the leading tone of the melodic minor scale resolves to scale degree 8. This type of goal-directed melodic motion is at the heart of tona ...
... degree serves the same purpose as in the harmonic minor composite: it creates a pull toward the tonic. Just as the V chord in Example 7 resolves to tonic harmony, the leading tone of the melodic minor scale resolves to scale degree 8. This type of goal-directed melodic motion is at the heart of tona ...
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.