JJS WMLS Circular Thinking Proofs
... reasons, and because of its clear 8-bar hypermeter, the introduction strongly favors D minor. The top staff of Example 3b shows Evans’ melody in half notes as well as the remaining pitches (most of them “tensions” that may be called ninths, elevenths, and thirteenths). In mm. 1–4, each tension (show ...
... reasons, and because of its clear 8-bar hypermeter, the introduction strongly favors D minor. The top staff of Example 3b shows Evans’ melody in half notes as well as the remaining pitches (most of them “tensions” that may be called ninths, elevenths, and thirteenths). In mm. 1–4, each tension (show ...
Generating Guitar Scores from a MIDI Source
... The software system that we have developed takes a MIDI file as input and generates a guitar score for it as output. The conversion process consists of the following three steps: 3.1. Melody extraction: In this step, we extract the music melody from a MIDI source and output it in a simple score form ...
... The software system that we have developed takes a MIDI file as input and generates a guitar score for it as output. The conversion process consists of the following three steps: 3.1. Melody extraction: In this step, we extract the music melody from a MIDI source and output it in a simple score form ...
Recondite Harmony: the operas of Puccini Introduction
... the idea of sonorità originally discussed by Pierluigi Petrobelli,21 is a study in this sort of pitch-class sleight-of-hand. In this, Puccini was not alone: “common-tone tonality” is usually analyzed with transformational tools, which have revealed these types of progressions in a vast repertoire, i ...
... the idea of sonorità originally discussed by Pierluigi Petrobelli,21 is a study in this sort of pitch-class sleight-of-hand. In this, Puccini was not alone: “common-tone tonality” is usually analyzed with transformational tools, which have revealed these types of progressions in a vast repertoire, i ...
File - Paul Sarasien
... pattern from the primary theme. Next, a trill descends by step in the top voices. Finally, the bass drops out and a descending eighth note melodic pattern leads back to c minor for the beginning of the recapitulation. This development is mostly typical of most developments in sonata form. However, d ...
... pattern from the primary theme. Next, a trill descends by step in the top voices. Finally, the bass drops out and a descending eighth note melodic pattern leads back to c minor for the beginning of the recapitulation. This development is mostly typical of most developments in sonata form. However, d ...
Twelve-tone Serialism: Exploring the Works of Anton Webern
... attempt to be heroic and philosophical in the way that Wagner’s operas were.6 Wagner too, in addition to culminating the development of tonal music, also started the turning point towards atonality with the “emancipation of the dissonance” that started to emerge in his opera Tristan und Isolde, wit ...
... attempt to be heroic and philosophical in the way that Wagner’s operas were.6 Wagner too, in addition to culminating the development of tonal music, also started the turning point towards atonality with the “emancipation of the dissonance” that started to emerge in his opera Tristan und Isolde, wit ...
Twelve-tone Serialism: Exploring the Works of Anton Webern
... attempt to be heroic and philosophical in the way that Wagner’s operas were.6 Wagner too, in addition to culminating the development of tonal music, also started the turning point towards atonality with the “emancipation of the dissonance” that started to emerge in his opera Tristan und Isolde, wit ...
... attempt to be heroic and philosophical in the way that Wagner’s operas were.6 Wagner too, in addition to culminating the development of tonal music, also started the turning point towards atonality with the “emancipation of the dissonance” that started to emerge in his opera Tristan und Isolde, wit ...
Introduction to the CAGED System,Part One
... Jazz chord voicings have to completely omit the root and fifth to accommodate their extensions. Rock musicians don’t avoid triads with such fervor; rather, they often pepper triadic arrangements with the occasional “spice” of a dominant seventh chord. Bluegrass and folk guitarists might find it diff ...
... Jazz chord voicings have to completely omit the root and fifth to accommodate their extensions. Rock musicians don’t avoid triads with such fervor; rather, they often pepper triadic arrangements with the occasional “spice” of a dominant seventh chord. Bluegrass and folk guitarists might find it diff ...
MONOPHONIC!AND! POLYPHONIC!MUSIC!
... Texture!is!one!of!the!basic!elements!of!music!which!describes!the!relationship!among! the!different!musical!voices.!The!piece’s!texture!may!be!described!using!terms!such!as! “thick”!and!“light”,!“rough”!or!“smooth”.!The!texture!of!a!piece!can!be!affected!by!the! number! and! character! of! melodies, ...
... Texture!is!one!of!the!basic!elements!of!music!which!describes!the!relationship!among! the!different!musical!voices.!The!piece’s!texture!may!be!described!using!terms!such!as! “thick”!and!“light”,!“rough”!or!“smooth”.!The!texture!of!a!piece!can!be!affected!by!the! number! and! character! of! melodies, ...
A Non-Pythagorean Musical Scale Based on Logarithms
... positions corresponding to logarithmic pitches marked on the fingerboards. Specially-constructed flutes, xylophones and marimbas, specially-tuned harps, and other acoustic instruments might also be utilized in performances. Certainly the natural harmonics of each instrument will interfere to some de ...
... positions corresponding to logarithmic pitches marked on the fingerboards. Specially-constructed flutes, xylophones and marimbas, specially-tuned harps, and other acoustic instruments might also be utilized in performances. Certainly the natural harmonics of each instrument will interfere to some de ...
View
... Chromatic scales consist of all twelve notes found between any note and its octave. All the notes in a chromatic scale are a semitone apart. Because the notes in a chromatic scale move by a semitone, it is necessary to use accidentals when writing the scale. Sharps are used to write the ascending sc ...
... Chromatic scales consist of all twelve notes found between any note and its octave. All the notes in a chromatic scale are a semitone apart. Because the notes in a chromatic scale move by a semitone, it is necessary to use accidentals when writing the scale. Sharps are used to write the ascending sc ...
Tuning, Tonality, and 22
... (Version a - distributional evenness): The basic scale has two step sizes, and given these step sizes, the notes are arranged in as close as possible an approximation of an equal tuning with only as many notes per octave as the basic scale.21 (Version b - tetrachordality): The basic scale has a stru ...
... (Version a - distributional evenness): The basic scale has two step sizes, and given these step sizes, the notes are arranged in as close as possible an approximation of an equal tuning with only as many notes per octave as the basic scale.21 (Version b - tetrachordality): The basic scale has a stru ...
Movement I (Largo) – overall comment
... motif. The remainder of the phrase then follows the general shape of the third phrase, but ends lower, and finishes with a sigh of falling minor third (reminiscent of the middle two notes of the initial DSCH motif). Phrase 5: the minor 3rdalternation continues for one bar before the melodic line lea ...
... motif. The remainder of the phrase then follows the general shape of the third phrase, but ends lower, and finishes with a sigh of falling minor third (reminiscent of the middle two notes of the initial DSCH motif). Phrase 5: the minor 3rdalternation continues for one bar before the melodic line lea ...
to read it in Microsoft Word
... Pre-determine the available notes for improvising over a given chord and chord sequence so that I could focus more on other musical aspects such as motivic development, phrasing, rhythm, dynamics, technique, and interaction with other players. ...
... Pre-determine the available notes for improvising over a given chord and chord sequence so that I could focus more on other musical aspects such as motivic development, phrasing, rhythm, dynamics, technique, and interaction with other players. ...
Musicology Today
... bridge) and the suspension in the last three measures, achieved by repeating the same harmonic structure, with a subtle gradation in preparing the statement of a new idea. The mobility of the transitory segment is perceived first of all through the general sound and movement, while only an analysis ...
... bridge) and the suspension in the last three measures, achieved by repeating the same harmonic structure, with a subtle gradation in preparing the statement of a new idea. The mobility of the transitory segment is perceived first of all through the general sound and movement, while only an analysis ...
Program - Michael Harrison, composer and pianist
... dissonance. Certain intervals were allowed in different contexts, and others were entirely avoided. Some combinations were deemed to be “good” and others “bad.” For example, the augmented fourth, or tri-tone, which was the so-called “devil in music,” as well as any “wolf” tones (the concurrent sound ...
... dissonance. Certain intervals were allowed in different contexts, and others were entirely avoided. Some combinations were deemed to be “good” and others “bad.” For example, the augmented fourth, or tri-tone, which was the so-called “devil in music,” as well as any “wolf” tones (the concurrent sound ...
16. Haydn String Quartet in E flat, Op.33 No. 2, `The Joke`: movement
... Even rhythmically and metrically, Haydn is not averse to throwing in some little surprises. The first episode, or B section, begins rather innocuously at Bar 37 with a two bar phrase which Haydn then repeats almost identically, but the last few notes suddenly lead us unexpectedly into the beginning ...
... Even rhythmically and metrically, Haydn is not averse to throwing in some little surprises. The first episode, or B section, begins rather innocuously at Bar 37 with a two bar phrase which Haydn then repeats almost identically, but the last few notes suddenly lead us unexpectedly into the beginning ...
eVirtuoso-Online Lessons Chords Lesson 3
... Any chords combined together in an intro, verse, chorus, bridge, etc. becomes a chord progression. This movement builds a foundation for a song’s harmony and sometimes rhythm too. Some chord progressions derive from a scale, and the notes in that scale help build chords and chord progressions, just ...
... Any chords combined together in an intro, verse, chorus, bridge, etc. becomes a chord progression. This movement builds a foundation for a song’s harmony and sometimes rhythm too. Some chord progressions derive from a scale, and the notes in that scale help build chords and chord progressions, just ...
16. Haydn String Quartet in E flat, Op.33, No. 2, `The Joke
... previously. Haydn’s contribution to the development of the string quartet was, however, unparalleled; he transformed the medium from the lightweight ‘background’ music found in his Opus 1 quartets to the high art form it became in his final works. With the set of six Op. 33 Quartets, we are almost a ...
... previously. Haydn’s contribution to the development of the string quartet was, however, unparalleled; he transformed the medium from the lightweight ‘background’ music found in his Opus 1 quartets to the high art form it became in his final works. With the set of six Op. 33 Quartets, we are almost a ...
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.