Scales and Temperament - Department of Physics and Astronomy
... Issues with Pythagorean Scale ‣ The Pythagorean tuning system is pretty elegant ‣ Given just a tonic and the 3:2 perfect 5th and 2:1 ...
... Issues with Pythagorean Scale ‣ The Pythagorean tuning system is pretty elegant ‣ Given just a tonic and the 3:2 perfect 5th and 2:1 ...
10:5 class notes
... • observe that the two segments with harp (4 and 7) are identical and, like 2 and 3, consist of descending semitones. • now look at the other color in 4 and 7 (e.g., horn) find the segments that use this color (2, 4 and 6). Notice a pair of subtle interrelationships: 1) segments 4 + 6 reproduce mot ...
... • observe that the two segments with harp (4 and 7) are identical and, like 2 and 3, consist of descending semitones. • now look at the other color in 4 and 7 (e.g., horn) find the segments that use this color (2, 4 and 6). Notice a pair of subtle interrelationships: 1) segments 4 + 6 reproduce mot ...
Teacher`s Notes - TI Education
... The human ear tends to hear both notes an octave apart as being essentially "the same", due to closely related harmonics. For this reason, notes an octave apart are given the same name in the Western system of music notation—the name of a note an octave above C is also C. The intervals between these ...
... The human ear tends to hear both notes an octave apart as being essentially "the same", due to closely related harmonics. For this reason, notes an octave apart are given the same name in the Western system of music notation—the name of a note an octave above C is also C. The intervals between these ...
File - Oak Bay Band
... Rule 1 - Duration of Notes that Sound ● Use a regular (or larger) sized number or ‘+’ symbol to identify beat or part of a beat on which the note begins to sound. ● Use smaller numbers or ‘+’ symbols to identify that the note continues to sound until the end of its value. Rule 2 - Duration of Rests ...
... Rule 1 - Duration of Notes that Sound ● Use a regular (or larger) sized number or ‘+’ symbol to identify beat or part of a beat on which the note begins to sound. ● Use smaller numbers or ‘+’ symbols to identify that the note continues to sound until the end of its value. Rule 2 - Duration of Rests ...
Ask Hohner`s Harmonica Tech
... a slide they produce all the notes of the scale, natural as well as sharps or flats. They are Solo tuned, meaning one complete octave to every 4 holes. To allow for the same breath exchange in every octave, the tonic notes are repeated in holes 4 and 5 and 8 and 9 blow. 12-HOLE CHROMATIC, KEY OF C ...
... a slide they produce all the notes of the scale, natural as well as sharps or flats. They are Solo tuned, meaning one complete octave to every 4 holes. To allow for the same breath exchange in every octave, the tonic notes are repeated in holes 4 and 5 and 8 and 9 blow. 12-HOLE CHROMATIC, KEY OF C ...
File - Melissa Hayes
... This is because they are the same note. It is acceptable to think of high C as either scale degree 8 or scale degree 1. The first note of a scale is called the tonic. All major scales follow the same pattern of tones and semitones. A semi-tone is the smallest step in music (i.e. from a B-flat to a B ...
... This is because they are the same note. It is acceptable to think of high C as either scale degree 8 or scale degree 1. The first note of a scale is called the tonic. All major scales follow the same pattern of tones and semitones. A semi-tone is the smallest step in music (i.e. from a B-flat to a B ...
Harmonics - Homework References
... Tri-tone: an augmented fourth or diminished fifth; an extremely dissonant sound (so dissonant, it was historically associated with the devil) The ratio between a tri-tone and fundamental frequency is √2:1 (a complex ratio, resulting in dissonance) Pythagoras discovered that when an octave (not a str ...
... Tri-tone: an augmented fourth or diminished fifth; an extremely dissonant sound (so dissonant, it was historically associated with the devil) The ratio between a tri-tone and fundamental frequency is √2:1 (a complex ratio, resulting in dissonance) Pythagoras discovered that when an octave (not a str ...
document - Far Western District
... scale against them. Hear and feel how some of these intervals can compliment each other differently based on tuning. • Overtones: Overtones (“harmonic series”) are the reason we practice just intonation. In complex vibrating instruments (like the human voice), partials (periodic waves) are created w ...
... scale against them. Hear and feel how some of these intervals can compliment each other differently based on tuning. • Overtones: Overtones (“harmonic series”) are the reason we practice just intonation. In complex vibrating instruments (like the human voice), partials (periodic waves) are created w ...
vocabulary - Berkner AP Music Theory
... Binary Form – A compositional form in which an initial section is followed by a contrasting section (AB) Cadence – The melodic or harmonic ending of a piece or the sections or phrases therein. A chord progression that ‘feels’ like the conclusion. Authentic (AC), Deceptive (DC), Half (HC), Imperfect ...
... Binary Form – A compositional form in which an initial section is followed by a contrasting section (AB) Cadence – The melodic or harmonic ending of a piece or the sections or phrases therein. A chord progression that ‘feels’ like the conclusion. Authentic (AC), Deceptive (DC), Half (HC), Imperfect ...
vocabulary - AP Music Theory
... Binary Form – A compositional form in which an initial section is followed by a contrasting section (AB) Cadence – The melodic or harmonic ending of a piece or the sections or phrases therein. A chord progression that ‘feels’ like the conclusion. Authentic (AC), Deceptive (DC), Half (HC), Imperfect ...
... Binary Form – A compositional form in which an initial section is followed by a contrasting section (AB) Cadence – The melodic or harmonic ending of a piece or the sections or phrases therein. A chord progression that ‘feels’ like the conclusion. Authentic (AC), Deceptive (DC), Half (HC), Imperfect ...
Chapter 1: The Basics Microtonal Notation
... (although the organisation of such intervals is usually much more sophisticated than this may imply). Although some of the pitches at the beginning of the series correspond more or less to equal tempered pitches, there are substantial differences from the seventh harmonic upwards. These intervals ha ...
... (although the organisation of such intervals is usually much more sophisticated than this may imply). Although some of the pitches at the beginning of the series correspond more or less to equal tempered pitches, there are substantial differences from the seventh harmonic upwards. These intervals ha ...
Pentatonic Moods
... dreaminess that softens the soul and seems to contribute to a feeling of being in harmony with the wider world whether in sorrow or in joy. Songs from these islands use but seven notes, such as D,E-G,A,B-D,E. music on more complex scales typically uses semitone intervals to express sorrow, pain or c ...
... dreaminess that softens the soul and seems to contribute to a feeling of being in harmony with the wider world whether in sorrow or in joy. Songs from these islands use but seven notes, such as D,E-G,A,B-D,E. music on more complex scales typically uses semitone intervals to express sorrow, pain or c ...
The Great Highland Bagpipe Plays in WHAT Key?
... sound good together — they are consonant rather than dissonant • The twelve-tone equal-tempered scale is the smallest equal-tempered scale that contains all seven of the basic consonant intervals to a good approximation — within 1 %. ...
... sound good together — they are consonant rather than dissonant • The twelve-tone equal-tempered scale is the smallest equal-tempered scale that contains all seven of the basic consonant intervals to a good approximation — within 1 %. ...
Serial Music - Toot Hill School
... that things like melody, pitch, rhythm and time were used very differently to make up music. Whole tone music, atonal music, bitonal music, microtonal music, serial music and minimalist music were some of the different types of new music that were a result of this experimentation. Minimalist music i ...
... that things like melody, pitch, rhythm and time were used very differently to make up music. Whole tone music, atonal music, bitonal music, microtonal music, serial music and minimalist music were some of the different types of new music that were a result of this experimentation. Minimalist music i ...
dotted eighth notes - Introduction to Music Theory
... Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
... Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
dotted eighth notes - Introduction to Music Theory
... Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
... Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
Intervals 4
... proficiency. In our musical system, the interval of an octave is divided into twelve equal 1/2 steps. If you are confused at all about the octave, please review notation2.pdf. In other words, the smallest distance between two pitches in traditional western music is a 1/2 step. The piano is a great t ...
... proficiency. In our musical system, the interval of an octave is divided into twelve equal 1/2 steps. If you are confused at all about the octave, please review notation2.pdf. In other words, the smallest distance between two pitches in traditional western music is a 1/2 step. The piano is a great t ...
The Emergence of the Idea of Irrationality In Renaissance
... equally divided, but almost equally, as is verifiable in the last column of the table, where each tone in such a scale is divided into two different, albeit quasiequal, semitones. In a general sense, such a process leads to an asymmetric scale, namely a scale in which not all equal intervals are pro ...
... equally divided, but almost equally, as is verifiable in the last column of the table, where each tone in such a scale is divided into two different, albeit quasiequal, semitones. In a general sense, such a process leads to an asymmetric scale, namely a scale in which not all equal intervals are pro ...
CIS 3000 Intervals Tutorial
... another interval that is one half step smaller (for example, the major third and the perfect fourth)? The answer is that we can have potentially two (or more names) for the exact same interval. While this might be useful in a theoretical sense we are only going to concern ourselves with the interval ...
... another interval that is one half step smaller (for example, the major third and the perfect fourth)? The answer is that we can have potentially two (or more names) for the exact same interval. While this might be useful in a theoretical sense we are only going to concern ourselves with the interval ...
Scales and temperaments: the fivefold way
... or 2:1, which is an octave. So 4:3 is an octave minus a perfect fth, or a perfect fourth. So this gives us nothing new. The next new interval is given by the ratio 5:4, which is the fth harmonic brought down two octaves. If we continue this way, we nd that the series of harmonics of a note can be ...
... or 2:1, which is an octave. So 4:3 is an octave minus a perfect fth, or a perfect fourth. So this gives us nothing new. The next new interval is given by the ratio 5:4, which is the fth harmonic brought down two octaves. If we continue this way, we nd that the series of harmonics of a note can be ...
Program - Michael Harrison, composer and pianist
... comma (approximately 1/8 of a semi-tone). In equal temperament these fifths are each tuned 1/12 of a Pythagorean comma flat so that the B# and C are equalized to become the same pitch. As a result, the naturally occurring “spiral” of “perfect” fifths is squeezed into a “circle” of “imperfect” fifths ...
... comma (approximately 1/8 of a semi-tone). In equal temperament these fifths are each tuned 1/12 of a Pythagorean comma flat so that the B# and C are equalized to become the same pitch. As a result, the naturally occurring “spiral” of “perfect” fifths is squeezed into a “circle” of “imperfect” fifths ...
AP Music Theory - Somerset Academy
... 6th – Submediant 7th – Subtonic or leading tone – depends on whether it is raised ...
... 6th – Submediant 7th – Subtonic or leading tone – depends on whether it is raised ...