12 Scale- A scale is a series of pitches in ascending order, such as
... scales, which differ in how many different pitch names they use, and in the pattern of steps they create. Often scales are named both by the starting letter and the pattern of steps. Diatonic scale- A diatonic scale uses all 7 pitch names once each until the octave is reached. Major Scale- Major sca ...
... scales, which differ in how many different pitch names they use, and in the pattern of steps they create. Often scales are named both by the starting letter and the pattern of steps. Diatonic scale- A diatonic scale uses all 7 pitch names once each until the octave is reached. Major Scale- Major sca ...
OTHER SCALES CHROMATIC SCALE The scale consisting of all
... descending version is usually written using flats. ...
... descending version is usually written using flats. ...
to all research - Hindsight Project: Classical Music of the
... less known for its reinstitution of the technique of composers like Mozart and Haydn, but known more-so for its power in the manipulation of earlier elements. The three schools of neo-classicism are those of Stravinsky, Schönberg, and Hindemith. Richard Strauss' Ariadne auf Naxos, Prokofiev's Classi ...
... less known for its reinstitution of the technique of composers like Mozart and Haydn, but known more-so for its power in the manipulation of earlier elements. The three schools of neo-classicism are those of Stravinsky, Schönberg, and Hindemith. Richard Strauss' Ariadne auf Naxos, Prokofiev's Classi ...
MUSC1 - Set work Analysis (2015): Haydn - Symphony No
... the music modulates to the relative major (F major). The opening dotted rhythm theme is repeated in bar 7 in F major. After this the antiphonal music is heard again but this time it rises sequentially to a dramatic repeat of the opening D minor theme. This repeat, however, is answered pianissimo by ...
... the music modulates to the relative major (F major). The opening dotted rhythm theme is repeated in bar 7 in F major. After this the antiphonal music is heard again but this time it rises sequentially to a dramatic repeat of the opening D minor theme. This repeat, however, is answered pianissimo by ...
NGFL_Shost_movt_4_analysis
... TEXTURE: Apart from the A# pedal note held low in violin 1 which lasts here for 21 bars, the chords are a key feature –but also significant is the unison playing by the lower three parts of the triadic motif from the cello concerto. THEMES: Theme a is heard in the lower 3 parts. In bar 10, this moti ...
... TEXTURE: Apart from the A# pedal note held low in violin 1 which lasts here for 21 bars, the chords are a key feature –but also significant is the unison playing by the lower three parts of the triadic motif from the cello concerto. THEMES: Theme a is heard in the lower 3 parts. In bar 10, this moti ...
Dictionary of Musical Terms
... 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 accomp ...
... 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 accomp ...
Pitch Collections, Scales, and Major Keys
... Check the first and last note. Check beginning and end of piece for note patterns suggested by the key signatures (5-1, or 7-1) Compare ex 3.13 and 3.14 ...
... Check the first and last note. Check beginning and end of piece for note patterns suggested by the key signatures (5-1, or 7-1) Compare ex 3.13 and 3.14 ...
A Field Guide to Chromaticism
... in the diminished seventh chord. One can't write one without using at least one accidental. The most familiar form is Vo9, or what some theorists, but not I, prefer to call VII7 — B D F Aflat in the key of C major or C minor. If in the major mode, the chord requires an accidental for the minor sixth ...
... in the diminished seventh chord. One can't write one without using at least one accidental. The most familiar form is Vo9, or what some theorists, but not I, prefer to call VII7 — B D F Aflat in the key of C major or C minor. If in the major mode, the chord requires an accidental for the minor sixth ...
Tonal Music
... than another is called atonal music, or literally without tonic. However, from approximately 1600 to 1915, all music in western culture was tonal. Again, all music had one note that all other notes gravitated toward. This does not mean that any one key was predominant in all music. On the contrary, ...
... than another is called atonal music, or literally without tonic. However, from approximately 1600 to 1915, all music in western culture was tonal. Again, all music had one note that all other notes gravitated toward. This does not mean that any one key was predominant in all music. On the contrary, ...
Chords, Keys, and Scales - What are they, and
... of a key is to think of a scale. In the key of C major, for instance, the scale notes are C D E F G A B C. If a song is written in C (major), we can expect it to use mostly those notes, and when we get to C it will feel like returning home. Pieces in a particular key usually – though not always – en ...
... of a key is to think of a scale. In the key of C major, for instance, the scale notes are C D E F G A B C. If a song is written in C (major), we can expect it to use mostly those notes, and when we get to C it will feel like returning home. Pieces in a particular key usually – though not always – en ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
Tonal Function in Harmonic Scales
... triad can also be substituted with a chord of the sixth (and vice versa), although this involves two moving tones rather than one, and so is less suitable as a substitution. ...
... triad can also be substituted with a chord of the sixth (and vice versa), although this involves two moving tones rather than one, and so is less suitable as a substitution. ...
Music Notation
... Musical notation follows the alphabet (A, B, C, D, E, F, G and returns to A). All notes within an octave (from one musical pitch, D for example, upto and including the octave above). There are 12 unique pitch identifiers (C# for example) within the octave register. However, in an octave register the ...
... Musical notation follows the alphabet (A, B, C, D, E, F, G and returns to A). All notes within an octave (from one musical pitch, D for example, upto and including the octave above). There are 12 unique pitch identifiers (C# for example) within the octave register. However, in an octave register the ...
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.