Major and Minor Pentatonic Scales
... Major and Minor Pentatonic Scales The word "pentatonic" comes from the Greek word pente meaning five and tonic meaning tone. Pentatonic scales are the staple of rock music and are used across the world in jazz, blues, country and bluegrass as well as West African music, African-American spirituals a ...
... Major and Minor Pentatonic Scales The word "pentatonic" comes from the Greek word pente meaning five and tonic meaning tone. Pentatonic scales are the staple of rock music and are used across the world in jazz, blues, country and bluegrass as well as West African music, African-American spirituals a ...
Trio for Piano, Oboe and Bassoon
... • Compare bars 17-18 with bars 3-4. Other than the tonality, what differences are there? Up to this point, the focal tonal points have been B flat major → D flat major → E minor, i.e., keys a minor 3rd apart, with the “tonic” key of B flat lasting only 10 bars. After this it is never reestablished, ...
... • Compare bars 17-18 with bars 3-4. Other than the tonality, what differences are there? Up to this point, the focal tonal points have been B flat major → D flat major → E minor, i.e., keys a minor 3rd apart, with the “tonic” key of B flat lasting only 10 bars. After this it is never reestablished, ...
On Ben Johnston`s Notation and the Performance
... reduction of natural relations to manageable ones. Its ubiquity in Western musical thinking, epitomized by the pianos which were once present in every home, and transferred by default to fixed-pitch percussion, modern organs and synthesizers, belies its own history as well as everyday musical experi ...
... reduction of natural relations to manageable ones. Its ubiquity in Western musical thinking, epitomized by the pianos which were once present in every home, and transferred by default to fixed-pitch percussion, modern organs and synthesizers, belies its own history as well as everyday musical experi ...
The Triad in First Inversion: Tonic, Subdominant, and Dominant Triads
... The use of an inversion of a triad makes possible better voice leading in the bass. An inverted triad coming between the strong root positions of triads increases the musical interest of a composition. The first inversions of major and minor triads may be found as early as the 13 th century. Th ...
... The use of an inversion of a triad makes possible better voice leading in the bass. An inverted triad coming between the strong root positions of triads increases the musical interest of a composition. The first inversions of major and minor triads may be found as early as the 13 th century. Th ...
Sequential Guide for Music Instruction Orchestra
... The NYSSMA® Sequential Guide to Music Instruction is a tool intended to promote consistency in learning and instruction, through a standards/outcomes-based approach. Understanding that every district and school has unique characteristics in creating learning situations, this document provides concep ...
... The NYSSMA® Sequential Guide to Music Instruction is a tool intended to promote consistency in learning and instruction, through a standards/outcomes-based approach. Understanding that every district and school has unique characteristics in creating learning situations, this document provides concep ...
Composer Profiles - Andrew Lesser Music
... resolution to any tonic note, nor is there any sense of tonal center entirely. Schoenberg called this the “emancipation of dissonance”, where tones are “set free”, not relying on any kind of triadic structure. This kind of music was labeled by critics as “atonal”, which is still in use to the presen ...
... resolution to any tonic note, nor is there any sense of tonal center entirely. Schoenberg called this the “emancipation of dissonance”, where tones are “set free”, not relying on any kind of triadic structure. This kind of music was labeled by critics as “atonal”, which is still in use to the presen ...
non-serial criteria in the pitch organization of webern`s twelve
... Interval analysis of this kind can only be applied to works that do not give harmonic functions to any of their chords or notes. Functional harmony gives a collective identity to harmonic fields in which each note has its hierarchically defined function. Since tonality is based on a scale that repro ...
... Interval analysis of this kind can only be applied to works that do not give harmonic functions to any of their chords or notes. Functional harmony gives a collective identity to harmonic fields in which each note has its hierarchically defined function. Since tonality is based on a scale that repro ...
Lesson_LLL_-_Mixture..
... In Lessons 8 and 10, we discussed various sorts of chromatic pitches. As we saw, non-diatonic tones may arise as a result of melodic or harmonic embellishment, or as part of an applied chord. This is not the case, however, in the following example: Example 1 (F. Schubert, Die Schöne Müllerin, No. 6: ...
... In Lessons 8 and 10, we discussed various sorts of chromatic pitches. As we saw, non-diatonic tones may arise as a result of melodic or harmonic embellishment, or as part of an applied chord. This is not the case, however, in the following example: Example 1 (F. Schubert, Die Schöne Müllerin, No. 6: ...
Yet Another 72-Noter - Masters Program in Digital Musics
... If there were symbols for larger intervals down to the whole tone, I didn't—and still don't—want to know them. I knew that if confronted with such a set of symbols, I would give up and go back to modal monody. The graphic distinctions seemed too minute for practical purposes, the symbols too hard t ...
... If there were symbols for larger intervals down to the whole tone, I didn't—and still don't—want to know them. I knew that if confronted with such a set of symbols, I would give up and go back to modal monody. The graphic distinctions seemed too minute for practical purposes, the symbols too hard t ...
Systems of pitch relations: scales, tunings
... more in tune than others, but all can be used. This phenomenon gives rise to infinite shades of key-colors, which are lost in the modern standard version: 12 tone equal temperament (12-TET). Unlike Meantone temperament, which alters the fifth to temper out the Syntonic comma, 12-TET tempers out the Py ...
... more in tune than others, but all can be used. This phenomenon gives rise to infinite shades of key-colors, which are lost in the modern standard version: 12 tone equal temperament (12-TET). Unlike Meantone temperament, which alters the fifth to temper out the Syntonic comma, 12-TET tempers out the Py ...
Glossary of Common Musical Terms and Concepts
... harmonic minor scale - a minor scale with the 7th note raised one semitone melodic minor scale - a minor scale with the 6th and 7th notes raised a semitone when ascending, and put back to normal when descending minor pentatonic scale - a major pentatonic scale starting on the 6th degree; or, a scale ...
... harmonic minor scale - a minor scale with the 7th note raised one semitone melodic minor scale - a minor scale with the 6th and 7th notes raised a semitone when ascending, and put back to normal when descending minor pentatonic scale - a major pentatonic scale starting on the 6th degree; or, a scale ...
Using Whole Tone Scales in Improvisation
... In the notes of this series the focus will be on bridging the gap between musical theory and practice. The target audience is the jazz performer who reads music and has a good understanding of chord progressions and traditional harmony. ...
... In the notes of this series the focus will be on bridging the gap between musical theory and practice. The target audience is the jazz performer who reads music and has a good understanding of chord progressions and traditional harmony. ...
NGFL_Shost_movt_2_analysis
... THEMES: The opening theme is characterised by two main musical ideas, a1 and a2, and the opening four bars outline the ideas for the movement to follow. Figure a1 is the opening idea in G# minor, and presents itself as narrow range of pitches, including the mediant, tonic and flattened supertonic o ...
... THEMES: The opening theme is characterised by two main musical ideas, a1 and a2, and the opening four bars outline the ideas for the movement to follow. Figure a1 is the opening idea in G# minor, and presents itself as narrow range of pitches, including the mediant, tonic and flattened supertonic o ...
Dissonance and Resolution
... I found that the major third interval actually had three partials that were within the critical bandwidth of the C note. The perfect fourth, on the other hand, was perfectly consonant. I concluded this must be the reason mathematically why people always preferred fourths to thirds. The fourth is pe ...
... I found that the major third interval actually had three partials that were within the critical bandwidth of the C note. The perfect fourth, on the other hand, was perfectly consonant. I concluded this must be the reason mathematically why people always preferred fourths to thirds. The fourth is pe ...
Tonal Harmony Chapter 11 Non Chord Tones 1
... 9-8 suspension is a special kind of suspension because the note of resolution should NOT be present anywhere in the texture when a suspension occurs 11-10 suspensions is actually a 4-3 suspension 9-8 suspension is NOT labeled as a 2-1 suspension because 2-1suspension if found much less frequen ...
... 9-8 suspension is a special kind of suspension because the note of resolution should NOT be present anywhere in the texture when a suspension occurs 11-10 suspensions is actually a 4-3 suspension 9-8 suspension is NOT labeled as a 2-1 suspension because 2-1suspension if found much less frequen ...
1 Winterreisse Analysis Samantha Goldberg TH-142
... repeating an “ABC” format twice. Each section relays a specific message, be it observational, reality, or dreaming. Every individual period, while completely contrasting from on another, ...
... repeating an “ABC” format twice. Each section relays a specific message, be it observational, reality, or dreaming. Every individual period, while completely contrasting from on another, ...
Elements of Music (Word Examples)
... The grouping of beats into larger, regular patterns, notated as measures. In simple meters, such as duple, triple, and quadruple, each beat subdivides into two; in compound meters, such as sextuple, each beat divides into three. ...
... The grouping of beats into larger, regular patterns, notated as measures. In simple meters, such as duple, triple, and quadruple, each beat subdivides into two; in compound meters, such as sextuple, each beat divides into three. ...
Composing with Numbers: Arnold Schoenberg and His Twelve
... by Jonathan Cross Arnold Schoenberg (1874-1951, Austro-Hungarian), one of the most influential 20th century composers Pioneer in atonal music (no key, no tone, no “tonality”) “Tonality is not an eternal law of music, but simply a means toward the achievement of musical form.” Invented the twelve-ton ...
... by Jonathan Cross Arnold Schoenberg (1874-1951, Austro-Hungarian), one of the most influential 20th century composers Pioneer in atonal music (no key, no tone, no “tonality”) “Tonality is not an eternal law of music, but simply a means toward the achievement of musical form.” Invented the twelve-ton ...
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.