NCEA Level 2 Music (91277) 2013 Assessment Schedule
... tries to give the impression that the pieces flow without obvious structure, but when analysed the opposite is the case. A good example of this mosaic structure is “Voiles” (bars 48–64) where motifs are presented in several combinations. He cleverly combines a pedal note with motifs built on earlier ...
... tries to give the impression that the pieces flow without obvious structure, but when analysed the opposite is the case. A good example of this mosaic structure is “Voiles” (bars 48–64) where motifs are presented in several combinations. He cleverly combines a pedal note with motifs built on earlier ...
Debussy - Nuages notes
... observed in earlier music. By design, avant-garde composers break down the sharp and (to them) over simple divisions of older musical styles. If they avail themselves of form types such as rondo, sonata form and so on, they do so in very free, imaginative ways. Thus AꞋ is not a “real” return of A bu ...
... observed in earlier music. By design, avant-garde composers break down the sharp and (to them) over simple divisions of older musical styles. If they avail themselves of form types such as rondo, sonata form and so on, they do so in very free, imaginative ways. Thus AꞋ is not a “real” return of A bu ...
the schenkerian analysis in the modern context of the
... specific and, as such, only applicable to a very limited repertoire. Attempts of application to other kinds of music are considered by theorists to require important adaptations in the theory. Schenker´s theory aims to explain the organic coherence of the “best” pieces of the so-called “common-pract ...
... specific and, as such, only applicable to a very limited repertoire. Attempts of application to other kinds of music are considered by theorists to require important adaptations in the theory. Schenker´s theory aims to explain the organic coherence of the “best” pieces of the so-called “common-pract ...
![[physics.pop-ph] 17 Sep 2012](http://s1.studyres.com/store/data/012822695_1-5dc1f713cd32434e3628f06dd7140ede-300x300.png)
Seventh Chords
... 1) The first inversion of the V7 is prepared by the tonic in first inversion or root position. Tonic has the 5th in the soprano, and V7 has the 7th in the soprano. 2) Special use of nonharmonic tones in the bass passing tones or suspensions avoids unequal fifths between soprano and bass. 3) The l ...
... 1) The first inversion of the V7 is prepared by the tonic in first inversion or root position. Tonic has the 5th in the soprano, and V7 has the 7th in the soprano. 2) Special use of nonharmonic tones in the bass passing tones or suspensions avoids unequal fifths between soprano and bass. 3) The l ...
adaptations of the schenkerian analysis to post
... Schenker’s theory, began by describing what was considered the essential structure of music: the triad and its linear unfolding through arpeggiation and through passing and auxiliary notes, in the most abstract form. Next, they talk about the forms that these structures could have in any musical con ...
... Schenker’s theory, began by describing what was considered the essential structure of music: the triad and its linear unfolding through arpeggiation and through passing and auxiliary notes, in the most abstract form. Next, they talk about the forms that these structures could have in any musical con ...
Blues and Other Popular Styles
... The chords indicated in measure 29 begin with Eb, then change to Eb6, a chord with all the pitches of an E b major triad, plus a major sixth (C) above the root. Pitches added to triads or seventh chords are sometimes called chord extensions. This particular sonority is an added-sixth chord. There ar ...
... The chords indicated in measure 29 begin with Eb, then change to Eb6, a chord with all the pitches of an E b major triad, plus a major sixth (C) above the root. Pitches added to triads or seventh chords are sometimes called chord extensions. This particular sonority is an added-sixth chord. There ar ...
crystallization of the sonata form in frederic chopin`s vision
... the new generation of Romantic composers no longer considered this form to hold such importance. Mendelssohn confined himself to 13 sonatas, Schumannn stopped at 8 (including Fantasia in C Major); Chopin made his first attempt at 18 years old, thereafter he created two more sonatas of great signific ...
... the new generation of Romantic composers no longer considered this form to hold such importance. Mendelssohn confined himself to 13 sonatas, Schumannn stopped at 8 (including Fantasia in C Major); Chopin made his first attempt at 18 years old, thereafter he created two more sonatas of great signific ...
AP Music Theory Syllabus
... “ The ultimate goal of an AP Music Theory course is to develop a student’s ability to recognize, understand and describe the basic materials and processes of music that are heard or presented in a score. The achievement of this goal may be best promoted by integrated approaches to the student’s deve ...
... “ The ultimate goal of an AP Music Theory course is to develop a student’s ability to recognize, understand and describe the basic materials and processes of music that are heard or presented in a score. The achievement of this goal may be best promoted by integrated approaches to the student’s deve ...
Harmony as a Strategy for Beneficial Change by Richard A. Schultz
... of living beings, through the evolution of galaxies. The universe is thus in a state of constant change. If we accept a definition of harmony as the condition of total consistency and compatibility, then in this sense the universe as a whole, and the myriad systems of which it is composed, is in a s ...
... of living beings, through the evolution of galaxies. The universe is thus in a state of constant change. If we accept a definition of harmony as the condition of total consistency and compatibility, then in this sense the universe as a whole, and the myriad systems of which it is composed, is in a s ...
Clara Wieck-Schumann: Piano Trio in G minor, Op. 17, movement 1
... Tonic and dominant pedals strengthen the sense of tonality: o dominant pedal bars 155–164 o tonic pedal bars 276–end. ...
... Tonic and dominant pedals strengthen the sense of tonality: o dominant pedal bars 155–164 o tonic pedal bars 276–end. ...
EKU Music Theory Study Guide - Music Theory And Composition
... previous lesson. Here are some examples of how this would work: To spell an E major scale: 1) Write all the alphabet letters through one octave starting with an E on the staff using whatever clef is requested as follows: E, F, G, A, B, C, D, E. 2) Apply (plug in) all the sharps or flats of the reque ...
... previous lesson. Here are some examples of how this would work: To spell an E major scale: 1) Write all the alphabet letters through one octave starting with an E on the staff using whatever clef is requested as follows: E, F, G, A, B, C, D, E. 2) Apply (plug in) all the sharps or flats of the reque ...
EKU Music Theory Study Guide with PAGE NUMBERS
... previous lesson. Here are some examples of how this would work: To spell an E major scale: 1) Write all the alphabet letters through one octave starting with an E on the staff using whatever clef is requested as follows: E, F, G, A, B, C, D, E. 2) Apply (plug in) all the sharps or flats of the reque ...
... previous lesson. Here are some examples of how this would work: To spell an E major scale: 1) Write all the alphabet letters through one octave starting with an E on the staff using whatever clef is requested as follows: E, F, G, A, B, C, D, E. 2) Apply (plug in) all the sharps or flats of the reque ...
View - NCUR Proceedings
... As Liszt applies these harmonies, augmented and diminished chords become similar in that they consist of equidistant intervals and do not have unique harmonic root notes as Liszt applied them. When several of either of these chords sounds one after the other, without resolving to a consonant chord, ...
... As Liszt applies these harmonies, augmented and diminished chords become similar in that they consist of equidistant intervals and do not have unique harmonic root notes as Liszt applied them. When several of either of these chords sounds one after the other, without resolving to a consonant chord, ...
The chromatic scale The major scale Scale degrees and
... harmonies that include the seventh scale degree in the minor mode. Likewise, the melodic minor scale is derived from composers' desire to avoid the melodic augmented second interval (more on this in the intervals section) between le and ti (and some chose not to avoid this!). In reality, there is on ...
... harmonies that include the seventh scale degree in the minor mode. Likewise, the melodic minor scale is derived from composers' desire to avoid the melodic augmented second interval (more on this in the intervals section) between le and ti (and some chose not to avoid this!). In reality, there is on ...
Trimbat by Ida Bagus Made Widnyana
... quantisization of pitches into equal temperament, we see a very dissonant and complicated series of harmonies at 1:26, a series of tri-chords in parallel motion — a root below both major and minor thirds. However, with the paired tunings and slightly “out-of- tune” (F# and D#) enharmonic tones, the ...
... quantisization of pitches into equal temperament, we see a very dissonant and complicated series of harmonies at 1:26, a series of tri-chords in parallel motion — a root below both major and minor thirds. However, with the paired tunings and slightly “out-of- tune” (F# and D#) enharmonic tones, the ...
Royal Conservatory of Music Violin Technique, Level 5
... scherzando,simile,sostenuto,senza,giocoso lento, ...
... scherzando,simile,sostenuto,senza,giocoso lento, ...
Twelve-Tone Technique.qxd
... Thus, to expand the compositional possibilities of the twelve-tone technique, the composer is allowed to manipulate the twelve-tone row in several ways: by making a retrograde out of it, by inverting its intervallic content, by transposing it, and by splitting it into several subsets. These types of ...
... Thus, to expand the compositional possibilities of the twelve-tone technique, the composer is allowed to manipulate the twelve-tone row in several ways: by making a retrograde out of it, by inverting its intervallic content, by transposing it, and by splitting it into several subsets. These types of ...
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.