playing giant steps with one scale
... semitones, minor 3rds, major 3rds, perfect 4ths, perfect 5ths, 6ths and major 7ths. The best results from this scale are obtained by being aware of where these different intervals are located so you can combine them fluently. ...
... semitones, minor 3rds, major 3rds, perfect 4ths, perfect 5ths, 6ths and major 7ths. The best results from this scale are obtained by being aware of where these different intervals are located so you can combine them fluently. ...
Week 3 Pitch Class
... Pitch Class Collection: the group of pitches used in a piece of music (no duplications or any particular order) Diatonic: the set of seven pitch classes in a single key (Mozart example) ...
... Pitch Class Collection: the group of pitches used in a piece of music (no duplications or any particular order) Diatonic: the set of seven pitch classes in a single key (Mozart example) ...
document - Far Western District
... genres, even setting it apart from its a cappella cousins. Tonight we’ll review and experience some of those elements. The Basics • While some experts still debate some finite elements, there are a handful of undeniable characteristics that are agreed both inside and outside the Barbershop Harmony S ...
... genres, even setting it apart from its a cappella cousins. Tonight we’ll review and experience some of those elements. The Basics • While some experts still debate some finite elements, there are a handful of undeniable characteristics that are agreed both inside and outside the Barbershop Harmony S ...
69s and pentatonics
... Sometimes the major 3rd can also be used as indeed can the natural 5th. (If the natural 5th is used with a minor 3rd we have the minor pentatonic scale.) The blues scale is used in jazz, pop music and gospel music. If you want a quick way of finding the blues scale for any key, think of the minor pe ...
... Sometimes the major 3rd can also be used as indeed can the natural 5th. (If the natural 5th is used with a minor 3rd we have the minor pentatonic scale.) The blues scale is used in jazz, pop music and gospel music. If you want a quick way of finding the blues scale for any key, think of the minor pe ...
Slides - UMD Physics
... This has changed historically but now it’s standard to take: A4 = 440 Hz So A5 = 880 Hz, A3 = 220 Hz, … ...
... This has changed historically but now it’s standard to take: A4 = 440 Hz So A5 = 880 Hz, A3 = 220 Hz, … ...
Essay revision - bullet points
... First subject in G minor Second subject in relative major Bb Second subject in recapitulation is in tonic (G minor) ...
... First subject in G minor Second subject in relative major Bb Second subject in recapitulation is in tonic (G minor) ...
Lesson_LLL_-_Mixture..
... Combining b3 and b6 will result in the bVI chord mentioned above. The bVI chord is one of the most commonly borrowed chords in a major key. When used in a deceptive cadence it increases the dramatic effect by thwarting to an even greater degree the listener’s expectation of tonic harmony. The follow ...
... Combining b3 and b6 will result in the bVI chord mentioned above. The bVI chord is one of the most commonly borrowed chords in a major key. When used in a deceptive cadence it increases the dramatic effect by thwarting to an even greater degree the listener’s expectation of tonic harmony. The follow ...
PDF text - Music Theory Online
... related, some do correspond with familiar chromatic harmonic relationships, such as the common-tone diminished seventh that embellishes a dominant seventh harmony (e.g., C°7–C7 in F major), and the normative resolution of a French sixth to a dominant seventh (e.g., C7 5–B7 in E minor). Of particular ...
... related, some do correspond with familiar chromatic harmonic relationships, such as the common-tone diminished seventh that embellishes a dominant seventh harmony (e.g., C°7–C7 in F major), and the normative resolution of a French sixth to a dominant seventh (e.g., C7 5–B7 in E minor). Of particular ...
A Few Notes on the Piano Works of Luca Lombardi
... signals, and tangible signs of a repetitive structure”. Obviously there are various ways of bringing back certain worn-out traditions, while at the same time keeping in mind that what counts is the quality of the product and not its “tendency”. However, I think Luca Lombardi’s “way” is one of the mo ...
... signals, and tangible signs of a repetitive structure”. Obviously there are various ways of bringing back certain worn-out traditions, while at the same time keeping in mind that what counts is the quality of the product and not its “tendency”. However, I think Luca Lombardi’s “way” is one of the mo ...
MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 – HARMONY Introduction
... by changing some of these chords to a different chord type you can get some really nice, unexpected chord sequences. Some popular examples of this include changing a chord IV to a minor chord and chord III to a major chord. An example of both of these can be found in Radiohead’s ‘Creep’. The chord s ...
... by changing some of these chords to a different chord type you can get some really nice, unexpected chord sequences. Some popular examples of this include changing a chord IV to a minor chord and chord III to a major chord. An example of both of these can be found in Radiohead’s ‘Creep’. The chord s ...
Rosen, Charles - The Tanner Lectures on Human Values
... “The Last Six Beethoven Sonatas”; his recording of Beethoven’s Diabelli Variations was nominated for a Grammy Award. Igor Stravinsky invited him to record his Movements for Piano and Orchestra, and Elliott Carter his Double Concerto. His many books include The Classical Style: Haydn, Mozart, Beethov ...
... “The Last Six Beethoven Sonatas”; his recording of Beethoven’s Diabelli Variations was nominated for a Grammy Award. Igor Stravinsky invited him to record his Movements for Piano and Orchestra, and Elliott Carter his Double Concerto. His many books include The Classical Style: Haydn, Mozart, Beethov ...
Gustav Mahler - Kettering City School District
... His Symphony No. 8 (called the "Symphony of a Thousand"), for example, calls for five vocal soloists, a boy choir, and an adult choir, along with a gigantic orchestra. He also departed from tradition in his use of tonality. His larger works often ended in a different tonality than they began in, w ...
... His Symphony No. 8 (called the "Symphony of a Thousand"), for example, calls for five vocal soloists, a boy choir, and an adult choir, along with a gigantic orchestra. He also departed from tradition in his use of tonality. His larger works often ended in a different tonality than they began in, w ...
Pitch- the relative “highness” or “lowness” of a sound
... rules for pitch organization are entirely different). Let’s put all this craziness into a practical application: Let’s say our tuning system has 12 pitches in the octave (like in the WEAM model) and we’ll number them 1,2,3,4,5,6,7,8,9,x,y,z (so that 10-12 only take up one character…). This is our Tu ...
... rules for pitch organization are entirely different). Let’s put all this craziness into a practical application: Let’s say our tuning system has 12 pitches in the octave (like in the WEAM model) and we’ll number them 1,2,3,4,5,6,7,8,9,x,y,z (so that 10-12 only take up one character…). This is our Tu ...
A - The sixth note of the diatonic major scale of C
... Canonic - A term used to describe a polyphonic style of music in which all the parts have the same melody but which start at different times. Cantabile - In singing style. Cantata - Baroque sacred or secular choral composition containing solos, duets, and choruses, with orchestral or keyboard accom ...
... Canonic - A term used to describe a polyphonic style of music in which all the parts have the same melody but which start at different times. Cantabile - In singing style. Cantata - Baroque sacred or secular choral composition containing solos, duets, and choruses, with orchestral or keyboard accom ...
1. Historical definitions.
... In a composition whose structure is determined by rules governing the progress of the basse fondamentale and the treatment of dissonances, two factors can be distinguished, just as in counterpoint at an earlier date. These factors are in themselves abstract, but their combined effect forms the basis ...
... In a composition whose structure is determined by rules governing the progress of the basse fondamentale and the treatment of dissonances, two factors can be distinguished, just as in counterpoint at an earlier date. These factors are in themselves abstract, but their combined effect forms the basis ...
Intro to Figured Bass
... was knowledge of the key signature of C Major as well as the C Major scale -- nothing else. The notes were derived without ever having to consider whether the intervals were major, minor, etc. ...
... was knowledge of the key signature of C Major as well as the C Major scale -- nothing else. The notes were derived without ever having to consider whether the intervals were major, minor, etc. ...
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.