Revision Pack for: MUSIC AS
... Sonata form a musical form that consists basically of an exposition, a development, and a Modulation is most commonly the act or process of changing from one key (tonic, or tonal recapitulation and that is used especially for the first movement of a sonata. ...
... Sonata form a musical form that consists basically of an exposition, a development, and a Modulation is most commonly the act or process of changing from one key (tonic, or tonal recapitulation and that is used especially for the first movement of a sonata. ...
The Minor Scales
... so here’s what they did: they raised the leading-tone by a half-step with an accidental. This gave them the tension they were looking for! ...
... so here’s what they did: they raised the leading-tone by a half-step with an accidental. This gave them the tension they were looking for! ...
Revision Guide
... the time signature (metre) constantly changes- this is no exception. The piece moves from 2/4 to 3/4 constantly. The rhythm is also highly syncopateddemonstrating the composer’s influences from jazz and music of the early 20th ...
... the time signature (metre) constantly changes- this is no exception. The piece moves from 2/4 to 3/4 constantly. The rhythm is also highly syncopateddemonstrating the composer’s influences from jazz and music of the early 20th ...
Text S2.
... Perceptual Relevance? Given the similarities between emotional speech spectra and major/minor intervals, the question remains whether listeners appreciate these similarities. While implied fundamentals can readily be heard for chords of harmonically related tones [2,3], they are not typically percei ...
... Perceptual Relevance? Given the similarities between emotional speech spectra and major/minor intervals, the question remains whether listeners appreciate these similarities. While implied fundamentals can readily be heard for chords of harmonically related tones [2,3], they are not typically percei ...
AS Music Technology - NW 14-19
... • It is the melody that people sing/hum after hearing music and enjoying it. ...
... • It is the melody that people sing/hum after hearing music and enjoying it. ...
Chapter 10 Harmonic Progression
... You must use half or authentic cadences for the final two notes of each phrase You should use circle progressions throughout each phrase Harmonize each melody note with one chord. It is possible to repeat chords, but add inversions for variety Use first inversion chords to make a smoother bass ...
... You must use half or authentic cadences for the final two notes of each phrase You should use circle progressions throughout each phrase Harmonize each melody note with one chord. It is possible to repeat chords, but add inversions for variety Use first inversion chords to make a smoother bass ...
Sample Grade 4 Theory Paper
... In a chromatic scale the distance between each degree of the scale and the next is: ...
... In a chromatic scale the distance between each degree of the scale and the next is: ...
Musical Terms and Concepts
... found within this type of scale. modality: (noun; modal = adjective) refers to music using diatonic scales with Greek names (Western) or non-Western scales. Modal scales predominate in medieval and Renaissance compositions. chromatic: using pitches outside of a particular diatonic scale, or using a ...
... found within this type of scale. modality: (noun; modal = adjective) refers to music using diatonic scales with Greek names (Western) or non-Western scales. Modal scales predominate in medieval and Renaissance compositions. chromatic: using pitches outside of a particular diatonic scale, or using a ...
1 Consonance and Dissonance in Theory, Practice and Science
... each voice tends to move to the closest pitch in the next chord (high pitch proximity). Exceptions can be found in music of Gesualdo and Liszt, in which triadic chord progressions proceed in unexpected directions (low pitch commonality). The chromatic tonal music of the late 19th and early 20th Cent ...
... each voice tends to move to the closest pitch in the next chord (high pitch proximity). Exceptions can be found in music of Gesualdo and Liszt, in which triadic chord progressions proceed in unexpected directions (low pitch commonality). The chromatic tonal music of the late 19th and early 20th Cent ...
Wanderer`s Night Song
... Task 2: What is the difference between an Opera and Operetta? Write a paragraph explaining it clearly. Task 3: Research the terms Cantata and Oratorio. Explain both terms in your copy. ...
... Task 2: What is the difference between an Opera and Operetta? Write a paragraph explaining it clearly. Task 3: Research the terms Cantata and Oratorio. Explain both terms in your copy. ...
1 - Julianne Baird
... c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody t ...
... c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody t ...
1 - Julianne Baird
... c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody t ...
... c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody t ...
Popular Music Theory - The Academy Of Popular Music
... For example, in twelve-tone equal temperament* the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard (see below), and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressi ...
... For example, in twelve-tone equal temperament* the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard (see below), and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressi ...
The Baroque 1/4
... From about 1620, some important principles were formulated which came to dominate harmonic thought and practice. Tonality was the most important principle established at that time – by gradually replacing the modal system with major and minor scales. The chords in each key in three groups (tonic; do ...
... From about 1620, some important principles were formulated which came to dominate harmonic thought and practice. Tonality was the most important principle established at that time – by gradually replacing the modal system with major and minor scales. The chords in each key in three groups (tonic; do ...
File - Humanities 1100
... melody. Melody refers to the tune of a song or piece of music. It is created by playing a series of notes one after another. Harmony accompanies and supports the melody. It is created by playing a group of notes (either simultaneously or as broken chords) behind the melody thus giving it musical tex ...
... melody. Melody refers to the tune of a song or piece of music. It is created by playing a series of notes one after another. Harmony accompanies and supports the melody. It is created by playing a group of notes (either simultaneously or as broken chords) behind the melody thus giving it musical tex ...
Traditional composition techniques
... inversion mirrored contour; e.g., subject and inversion in Bartok's Music for Strings, Percussion and Celeste, first movement isomelos same notes, different rhythm; used constantly in dodecaphony microtones intervals smaller than a semitone non-tonal scales scale structures that are symmetric in con ...
... inversion mirrored contour; e.g., subject and inversion in Bartok's Music for Strings, Percussion and Celeste, first movement isomelos same notes, different rhythm; used constantly in dodecaphony microtones intervals smaller than a semitone non-tonal scales scale structures that are symmetric in con ...
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.