TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... mixed-interval chords -- a chord that combines 2 or more interval types (with their inversions / compounds) to form a complex sonority neotonality -- music that is tonal but in which the tonal center is established throughout nontraditional means; may be tertian and non-tertian open-fifth chord -- a ...
... mixed-interval chords -- a chord that combines 2 or more interval types (with their inversions / compounds) to form a complex sonority neotonality -- music that is tonal but in which the tonal center is established throughout nontraditional means; may be tertian and non-tertian open-fifth chord -- a ...
Appendix H Musical Concepts
... motives may function as identifiable elements in musical compositions. Themes - Musical works often contain melodies, which may function as identifiable themes. Phrases and Periods/Sentences - A melody may be composed of two or more periods (sentences),each of which may be composed of two or more ph ...
... motives may function as identifiable elements in musical compositions. Themes - Musical works often contain melodies, which may function as identifiable themes. Phrases and Periods/Sentences - A melody may be composed of two or more periods (sentences),each of which may be composed of two or more ph ...
Word - asboa
... A key based on the minor scale Changing meter within the song Commonly refers to music based on the Gregorian mode (e.g., dorian, Phrygian, mixolydian) A series of notes into which the octave is divided according to specific systems The process of changing from one key to another Single melody in un ...
... A key based on the minor scale Changing meter within the song Commonly refers to music based on the Gregorian mode (e.g., dorian, Phrygian, mixolydian) A series of notes into which the octave is divided according to specific systems The process of changing from one key to another Single melody in un ...
MUSIC 111 Class Notes 2
... • polyrhythmic - simultaneous use of conflicting rhythmic patterns - straight notes • equal (metrical) - Metrical Patterns • simple securing patterns ...
... • polyrhythmic - simultaneous use of conflicting rhythmic patterns - straight notes • equal (metrical) - Metrical Patterns • simple securing patterns ...
Harmonic vs. thematic structure
... • The first section begins with Theme 1 and then leads—via a transitional section—to Theme 2 which ends with a perfect authentic cadence in the dominant key. The second section returns to the tonic key (often by adding a minor seventh to the tonic chord of the dominant key, making it a V7 chord in t ...
... • The first section begins with Theme 1 and then leads—via a transitional section—to Theme 2 which ends with a perfect authentic cadence in the dominant key. The second section returns to the tonic key (often by adding a minor seventh to the tonic chord of the dominant key, making it a V7 chord in t ...
Tonal Harmony Chapter 15 Other Diatonic Seventh Chords
... One of the most commonly used sequential patterns (iv7 – VII7 – IIIM7 – VIM7 - iiø7 – V7 – i) If the chord used in a circle-of-fifths sequence, follow these rules about voice leading, o If the seventh chords are in root position in four-part texture, COMPLETE chords will alternate with incomplet ...
... One of the most commonly used sequential patterns (iv7 – VII7 – IIIM7 – VIM7 - iiø7 – V7 – i) If the chord used in a circle-of-fifths sequence, follow these rules about voice leading, o If the seventh chords are in root position in four-part texture, COMPLETE chords will alternate with incomplet ...
Document
... Time Signature – two numbers that appear at the beginning of a piece of music which indicate how many beats there are in a bar. Dorian Mode – a scale running from D to D on the keyboard using only white notes Jig – an Irish Dance ...
... Time Signature – two numbers that appear at the beginning of a piece of music which indicate how many beats there are in a bar. Dorian Mode – a scale running from D to D on the keyboard using only white notes Jig – an Irish Dance ...
You Can Get It If You Really Want (p
... Song is in Db major throughout (but see Instrumental below) Relies almost exclusively on primary chords I IV & V(7) except for:o 9th bar of the Verses, e.g. b.22 – chord iii (Fm) o E major chord in the Instrumental (bs.37 and 41) o Chord sequence in bars 39 and 43 which end each 4-bar phrase with ha ...
... Song is in Db major throughout (but see Instrumental below) Relies almost exclusively on primary chords I IV & V(7) except for:o 9th bar of the Verses, e.g. b.22 – chord iii (Fm) o E major chord in the Instrumental (bs.37 and 41) o Chord sequence in bars 39 and 43 which end each 4-bar phrase with ha ...
Blank UbD Planning Template
... W: Learn chords built on each note of the C major scale. Learn chords built on each note of the a minor scale. Arppegiate them. Learn arpeggiated two-hand chord progression in C major independent of sheet music: I vi IV ii IV iii IV V I vii IV ii IV V I Beatles-Let It Be Teach the three chords assoc ...
... W: Learn chords built on each note of the C major scale. Learn chords built on each note of the a minor scale. Arppegiate them. Learn arpeggiated two-hand chord progression in C major independent of sheet music: I vi IV ii IV iii IV V I vii IV ii IV V I Beatles-Let It Be Teach the three chords assoc ...
The Overtone Series
... The result is that there are many overtones produced above the fundamental pitch. These overtones are too soft to be individually perceived but are nevertheless present. ...
... The result is that there are many overtones produced above the fundamental pitch. These overtones are too soft to be individually perceived but are nevertheless present. ...
Stage 1: Desired Results Stage 2 : Assessment Evidence Stage 3
... A. Four-‐voice realization of figured-‐bass symbols and Roman numerals B. Composition of a bass line (with chord symbols) for a given melody IV. Score Analysis (with or without aural stimulus) A. Small- ...
... A. Four-‐voice realization of figured-‐bass symbols and Roman numerals B. Composition of a bass line (with chord symbols) for a given melody IV. Score Analysis (with or without aural stimulus) A. Small- ...
Term - Wsfcs
... One who directs a group of performers. The conductor indicates the tempo, phrasing, dynamics, and style by gestures and facial expressions. ...
... One who directs a group of performers. The conductor indicates the tempo, phrasing, dynamics, and style by gestures and facial expressions. ...
A Small Selection from among the Many Things that I Still Do Not
... slightly earlier years are so similar that I was surprised to find that no one seems to have noticed or asked questions about this. I do hint at a connection in my book,7 but I feel that the whole area needs to be researched with this issue in mind. After all, Lutheran composers adapted to their use ...
... slightly earlier years are so similar that I was surprised to find that no one seems to have noticed or asked questions about this. I do hint at a connection in my book,7 but I feel that the whole area needs to be researched with this issue in mind. After all, Lutheran composers adapted to their use ...
lhs music theory final exam review sheet
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
Peer Gynt Suite No. 1
... The movement begins with the (i)f_ _ _ _ playing the main 4-bar melody. This is repeated an (ii)o_ _ _ _ _ lower by another woodwind instrument the (iii)o_ _ _. These two instruments continue to share this theme, alternating with each other, at 4-bar, the 1-bar, then half-bar intervals. The (iv)s_ _ ...
... The movement begins with the (i)f_ _ _ _ playing the main 4-bar melody. This is repeated an (ii)o_ _ _ _ _ lower by another woodwind instrument the (iii)o_ _ _. These two instruments continue to share this theme, alternating with each other, at 4-bar, the 1-bar, then half-bar intervals. The (iv)s_ _ ...
presentation
... selection from tonic soprano vector; generate soprano melody via random walk (unless its value corresponds to leading tone, in which case it must go up) ...
... selection from tonic soprano vector; generate soprano melody via random walk (unless its value corresponds to leading tone, in which case it must go up) ...
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.