Elements of Music
... c. When a composition contains several different parts and when the first part repeats alternately with other parts, the form may be identified as rondo. d. When a composition presents a given melody (theme), followed by repetitions of it with alterations, either in the melody itself or in its accom ...
... c. When a composition contains several different parts and when the first part repeats alternately with other parts, the form may be identified as rondo. d. When a composition presents a given melody (theme), followed by repetitions of it with alterations, either in the melody itself or in its accom ...
![Mathematical Properties of the Melodic M[...]](http://s1.studyres.com/store/data/010878245_1-bf479fc29436337f034bfd616c268c91-300x300.png)
Mathematical Properties of the Melodic M[...]
... Northeastern Brazil (which to me suggests it originally comes from Africa). From my own knowledge of minor scale development (e.g. Howard Goodall’s History of Music, BBC recent series) the first scale to be used in Western music was in fact the aeolian or natural minor. This is why the notes are nam ...
... Northeastern Brazil (which to me suggests it originally comes from Africa). From my own knowledge of minor scale development (e.g. Howard Goodall’s History of Music, BBC recent series) the first scale to be used in Western music was in fact the aeolian or natural minor. This is why the notes are nam ...
Benward Chapter 9
... Each member of the triad is named in relation to the tone on which the chord is constructed, which is the root of the triad. The note a third above the root is called the third of the triad. The fifth above the root is the fifth of the triad. Triads are named by the root and the quality of sound: th ...
... Each member of the triad is named in relation to the tone on which the chord is constructed, which is the root of the triad. The note a third above the root is called the third of the triad. The fifth above the root is the fifth of the triad. Triads are named by the root and the quality of sound: th ...
Analysis Guide
... those items that are most appropriate to the given composition. I. MELODY (horizontal pitch relationships) A. Scale/Tonality: 1. On what scale(s) or collection of pitches is the melody based? 2. What is the tonal center? B. Intervallic motion: 1. Does conjunct (stepwise) or disjunct (leaps) motion c ...
... those items that are most appropriate to the given composition. I. MELODY (horizontal pitch relationships) A. Scale/Tonality: 1. On what scale(s) or collection of pitches is the melody based? 2. What is the tonal center? B. Intervallic motion: 1. Does conjunct (stepwise) or disjunct (leaps) motion c ...
The Overtone Series
... occur in a pattern, which is called the harmonic series, or the overtone series. The initial (bottom) pitch is called the fundamental. In the diagram below, the fundamental is a low C beneath the bass clef. The pitches above it are that pitch's overtones. The overtones go on and on, and up and up, a ...
... occur in a pattern, which is called the harmonic series, or the overtone series. The initial (bottom) pitch is called the fundamental. In the diagram below, the fundamental is a low C beneath the bass clef. The pitches above it are that pitch's overtones. The overtones go on and on, and up and up, a ...
Tristan und Isolde - The Grange School Blogs
... Significantly the V7 in A minor which follows the ‘Tristan’ chord in Bar 3 does not resolve (i.e. to the tonic as you would normally expect). Instead the chord is followed by silence. This occurs ...
... Significantly the V7 in A minor which follows the ‘Tristan’ chord in Bar 3 does not resolve (i.e. to the tonic as you would normally expect). Instead the chord is followed by silence. This occurs ...
Chapter 9 - eacfaculty.org
... this, there aren’t set rules governing the voice leading practices. • Try to keep each voice as smooth as possible by moving each voice stepwise, but be sure to follow all inviolate rules of voice leading. ...
... this, there aren’t set rules governing the voice leading practices. • Try to keep each voice as smooth as possible by moving each voice stepwise, but be sure to follow all inviolate rules of voice leading. ...
lesson 1 - john p birchall
... White note scales, without sharps or flats, starting on notes other than C are called MODES and because they have the semitone steps In DIFFERENT PLACES their characteristic sound is different. These modes all have Greek names and were used extensively in early period music to create a variety of d ...
... White note scales, without sharps or flats, starting on notes other than C are called MODES and because they have the semitone steps In DIFFERENT PLACES their characteristic sound is different. These modes all have Greek names and were used extensively in early period music to create a variety of d ...
Chpt. 3: 節奏Rhythm Flow of music (events) through time
... from Suite No. 1 in C Major for Orchestra (1717-1723) by Johann Sebastian Bach Listening guide p. 70 Brief Set, CD 1:45 Note binary form ...
... from Suite No. 1 in C Major for Orchestra (1717-1723) by Johann Sebastian Bach Listening guide p. 70 Brief Set, CD 1:45 Note binary form ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... It is possible to employ musical features other than cadence patterns to create larger structure unit Sentence is characterized by the immediate repetition or variation of a musical idea followed by a motion toward a cadence Sentence is typically, though not always, a SINGLE PHRASE in length [ ...
... It is possible to employ musical features other than cadence patterns to create larger structure unit Sentence is characterized by the immediate repetition or variation of a musical idea followed by a motion toward a cadence Sentence is typically, though not always, a SINGLE PHRASE in length [ ...
Scales, Key, and Modes!
... Scalar Variance : the use of natural, harmonic, and melodic minor scales within one composition Opens up our menu of choices, provides more options Harmonic and Melodic forms of minor are Artificial Scales The natural minor is the only Artificial minor scale ...
... Scalar Variance : the use of natural, harmonic, and melodic minor scales within one composition Opens up our menu of choices, provides more options Harmonic and Melodic forms of minor are Artificial Scales The natural minor is the only Artificial minor scale ...
Nonchord tone - Chord Melody
... A non-chord tone, non-harmonic tone, or non-harmony note is a note in a piece of music which is not a part of the chord that is formed by the other notes sounding at the time. Non-chord tones are most often discussed in the context of music of the common practice period, but can be used in analysis ...
... A non-chord tone, non-harmonic tone, or non-harmony note is a note in a piece of music which is not a part of the chord that is formed by the other notes sounding at the time. Non-chord tones are most often discussed in the context of music of the common practice period, but can be used in analysis ...
Predicting the root of a musical chord
... Ernst Terhardt speaks of a hierarchy of different pitch perceptions: He differs spectral pitches (i.e. frequencies, which correspond to parts of the overtone spectrum) from the resulting virtual pitches (Terhardt, 1998, p. 311). Roederer however names spectral pitches as so called "Ohr-Obertöne" (Ro ...
... Ernst Terhardt speaks of a hierarchy of different pitch perceptions: He differs spectral pitches (i.e. frequencies, which correspond to parts of the overtone spectrum) from the resulting virtual pitches (Terhardt, 1998, p. 311). Roederer however names spectral pitches as so called "Ohr-Obertöne" (Ro ...
File
... There are brief modulations to G major at b. 89 and D minor at b. 100. From the return of the saltarello material in bar 136 to the end, the music remains in C major. ...
... There are brief modulations to G major at b. 89 and D minor at b. 100. From the return of the saltarello material in bar 136 to the end, the music remains in C major. ...
Text
... and Neoromanticism." Chapters vary in content, discussing either a single musical parameter such as scale formation, vertical sonority, melody and voice leading, harmonic progression, rhythm, form, timbre and texture, or a style or "school" of composition such as neoclassicism, exoticism, atonality, ...
... and Neoromanticism." Chapters vary in content, discussing either a single musical parameter such as scale formation, vertical sonority, melody and voice leading, harmonic progression, rhythm, form, timbre and texture, or a style or "school" of composition such as neoclassicism, exoticism, atonality, ...
RECITAL and CONCERTO IN PIANO BY HANDEL, BEETHOVEN
... against the 3/4 meter of left hand. Since the triplet notation was not invented until the Classical Period, Handel used both compound and simple meter simultaneously to achieve the effect and feeling of triplets. Variation Four is almost the same as Variation Three, except the role of the left hand ...
... against the 3/4 meter of left hand. Since the triplet notation was not invented until the Classical Period, Handel used both compound and simple meter simultaneously to achieve the effect and feeling of triplets. Variation Four is almost the same as Variation Three, except the role of the left hand ...
Chapter 3 Piccola musica notturna (1954)
... harmonies, there is no proper tonal organization in this section but, rather, the remains or the fleeting memories of one. However, there is a linear organization to which all the various kinds of harmonic formations can be referred, whether they be tonal, octatonic or indeterminate. On the next pag ...
... harmonies, there is no proper tonal organization in this section but, rather, the remains or the fleeting memories of one. However, there is a linear organization to which all the various kinds of harmonic formations can be referred, whether they be tonal, octatonic or indeterminate. On the next pag ...
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.