22. Mozart Piano Sonata in B flat, K. 333: movement I
... 10-22: The transition stage uses B flat-F. The transition (or bridge section) modulates (changes key) to the dominant (F major). 23-63: The second subject section is in F (dominant). There are no fewer than four main melodic ideas (bars 23, 39, 50 and 59). The fourth can be described as a codetta. ...
... 10-22: The transition stage uses B flat-F. The transition (or bridge section) modulates (changes key) to the dominant (F major). 23-63: The second subject section is in F (dominant). There are no fewer than four main melodic ideas (bars 23, 39, 50 and 59). The fourth can be described as a codetta. ...
Figure 1 - WordPress.com
... Through common-tone modulation the D becomes the third of the relative major Bb key area. Melodically, as before, tied half-notes over the bar permeate the music; however, these no longer seem yearning. The melodic and rhythmic pull from beat three to beat one, which dragged the melodic motion thro ...
... Through common-tone modulation the D becomes the third of the relative major Bb key area. Melodically, as before, tied half-notes over the bar permeate the music; however, these no longer seem yearning. The melodic and rhythmic pull from beat three to beat one, which dragged the melodic motion thro ...
Diatonic Triads Powerpoint
... What is the roman numeral used to represent the tonic chord in a major scale? What is the roman numeral used to represent the dominant chord in a minor scale? What is the name of the chord built on the fourth scale degree called? What is the bottom note of a triad called? ...
... What is the roman numeral used to represent the tonic chord in a major scale? What is the roman numeral used to represent the dominant chord in a minor scale? What is the name of the chord built on the fourth scale degree called? What is the bottom note of a triad called? ...
Supporting Materials - Melody, Rhythm, Accompaniment
... The pentatonic scales are especially useful for developing improvisational skills. The absence of half steps removes the leading tone tendency associated with traditional harmony. Melodies can be improvised that are free to follow their own logic rather than fulfill harmonic implications. Improvisat ...
... The pentatonic scales are especially useful for developing improvisational skills. The absence of half steps removes the leading tone tendency associated with traditional harmony. Melodies can be improvised that are free to follow their own logic rather than fulfill harmonic implications. Improvisat ...
Matt Pike Music 122 Final Paper Ravel – String Quartet in F Major
... techniques and upper-structure based voicings would not become common practice until decades later when jazz was being created. This is one of the ways in which Ravel and his contemporaries innovated and expanded the harmonic palette of the time. Not only did Ravel defy tradition when building chord ...
... techniques and upper-structure based voicings would not become common practice until decades later when jazz was being created. This is one of the ways in which Ravel and his contemporaries innovated and expanded the harmonic palette of the time. Not only did Ravel defy tradition when building chord ...
Music Fundamentals Primer Lesson 4
... The first step is to identify the pitches in the chord. In the first, from bottom to top, we have F, B, and D. There are three possible arrangements of these three notes within a single octave (shown in step 2). The one arrangement in which all of the adjacent intervals are thirds is the most compa ...
... The first step is to identify the pitches in the chord. In the first, from bottom to top, we have F, B, and D. There are three possible arrangements of these three notes within a single octave (shown in step 2). The one arrangement in which all of the adjacent intervals are thirds is the most compa ...
Music 11, 7/20/06 Texture: Homophony and Polyphony Homophony
... the chord members for any given bass note, but common practice has led us to a kind of shorthand. For now, the above list should be memorized. In future lessons on functional harmony, these numbers might take on a more meaningful definition… Seventh Chords Seventh chords have four members: root, thi ...
... the chord members for any given bass note, but common practice has led us to a kind of shorthand. For now, the above list should be memorized. In future lessons on functional harmony, these numbers might take on a more meaningful definition… Seventh Chords Seventh chords have four members: root, thi ...
Structure and Form File
... • Popular songs are made up of main sections called; – Verse – All verses in popular music are usually the same, repetition of melodies etc. but there may be a change in terms of more instruments, different words etc. – Chorus – Repeated as the main, catchy idea of the song, and is usually repeated ...
... • Popular songs are made up of main sections called; – Verse – All verses in popular music are usually the same, repetition of melodies etc. but there may be a change in terms of more instruments, different words etc. – Chorus – Repeated as the main, catchy idea of the song, and is usually repeated ...
Chromaticism I
... on a chord by chord basis) reinforce, or are reducible to, the structural norms of a single diatonic system. However, it is possible to create harmonic units that are built out of scale-degree representatives from multiple modes. Just as the harmonic minor scale is called artificial because it is no ...
... on a chord by chord basis) reinforce, or are reducible to, the structural norms of a single diatonic system. However, it is possible to create harmonic units that are built out of scale-degree representatives from multiple modes. Just as the harmonic minor scale is called artificial because it is no ...
non–chord tones - KIMBERLY CHOIRS
... • Non–chord tones (NCTs) (or non–harmonic tones) are notes that do not belong in a certain chord. • A step (ST) is equal to an interval of a generic second. • A skip (SK) is equal to an interval of a generic third or more. • A passing tone (PT) is approached by step and then continues by step in the ...
... • Non–chord tones (NCTs) (or non–harmonic tones) are notes that do not belong in a certain chord. • A step (ST) is equal to an interval of a generic second. • A skip (SK) is equal to an interval of a generic third or more. • A passing tone (PT) is approached by step and then continues by step in the ...
AoS2 – Harmony and Tonality
... ! The strongest not in any scale is the tonic (the note the scale starts and ends on) ! This has an effect on the other notes in the scale; in tonal music there is always the feeling tha ...
... ! The strongest not in any scale is the tonic (the note the scale starts and ends on) ! This has an effect on the other notes in the scale; in tonal music there is always the feeling tha ...
Year-9-Music
... o A repeated musical pattern in the bass part upon which chords and melodies can be performed and varied. This variety often gets more complex as the piece proceeds o A unifying feature in much music of the Baroque period and popular songs. o This makes Ground Bass a particular type of variation for ...
... o A repeated musical pattern in the bass part upon which chords and melodies can be performed and varied. This variety often gets more complex as the piece proceeds o A unifying feature in much music of the Baroque period and popular songs. o This makes Ground Bass a particular type of variation for ...
a PDF version of this work.
... are fairly rare as they are static, and do not advance the individual line. It is rather unusual to see them paired together and placed on the strong portion of the beat. Chopin uses them here as an expressive gesture. They project the melody, which is more important than aligning the harmonies on t ...
... are fairly rare as they are static, and do not advance the individual line. It is rather unusual to see them paired together and placed on the strong portion of the beat. Chopin uses them here as an expressive gesture. They project the melody, which is more important than aligning the harmonies on t ...
Diatonic Harmony Primer - John Ely`s Steel Guitar Web
... that scale degree and carrying the name associated with that degree. So the tonic triad is built on degree 1, 3, and 5; the supertonic triad is build on degree 2, 4, and 6; and so on. The seven diatonic triads for the key of C are shown in the diagram (right) and are commonly labeled using the Roman ...
... that scale degree and carrying the name associated with that degree. So the tonic triad is built on degree 1, 3, and 5; the supertonic triad is build on degree 2, 4, and 6; and so on. The seven diatonic triads for the key of C are shown in the diagram (right) and are commonly labeled using the Roman ...
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.