Russian Pitch-Class Set Analysis and the Music of Webern
... help to analyze atonal music.7 In so doing, Forte essentially gave us many of pc set theory’s basic notions: “‘PC set,’ ‘normal’ or ‘prime form,’ and ‘interval vector’ have become household concepts for many music theorists, but in the mid-1960s they met a very specific need: the need for definition ...
... help to analyze atonal music.7 In so doing, Forte essentially gave us many of pc set theory’s basic notions: “‘PC set,’ ‘normal’ or ‘prime form,’ and ‘interval vector’ have become household concepts for many music theorists, but in the mid-1960s they met a very specific need: the need for definition ...
Pentatonic Scales
... What is a Pentatonic Scale? • Penta means five. A pentatonic scale is a 5 note scale as it’s simplest definition. • Unlike 7 tone scales which are called diatonic scales (step – wise). Major scales are diatonic scales. Also the modes are diatonic scales. • The black keys on a piano are a pentatonic ...
... What is a Pentatonic Scale? • Penta means five. A pentatonic scale is a 5 note scale as it’s simplest definition. • Unlike 7 tone scales which are called diatonic scales (step – wise). Major scales are diatonic scales. Also the modes are diatonic scales. • The black keys on a piano are a pentatonic ...
Generalized Interval System and Its Applications
... A diagram of a keyboard. Each key is associated with repeating sequence of notes. ...
... A diagram of a keyboard. Each key is associated with repeating sequence of notes. ...
Nicola Vicentino and the Enharmonic Diesis
... sources. I will then discuss Vicentino‟s adaptation of the Greek genera, his theory of interval affect, and the features of his 31-tone tuning system. The discussion will focus on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. C ...
... sources. I will then discuss Vicentino‟s adaptation of the Greek genera, his theory of interval affect, and the features of his 31-tone tuning system. The discussion will focus on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. C ...
Tripod Notation article
... tone that you find between a pure, perfect fourth and fifth. Magic temperament has two different sizes of whole tone in the nine-limit that both end up as major seconds in mean1.5 ...
... tone that you find between a pure, perfect fourth and fifth. Magic temperament has two different sizes of whole tone in the nine-limit that both end up as major seconds in mean1.5 ...
Lesson 10: The Power of Algebra—Finding Pythagorean Triples
... “Who is the farthest (as the crow flies) from the starting point?” This question boils down to the difference between the definitions of path length versus distance. While Sam’s path length is 8 city blocks and Jill’s is 10 city blocks, the question asks for the distance between the starting point a ...
... “Who is the farthest (as the crow flies) from the starting point?” This question boils down to the difference between the definitions of path length versus distance. While Sam’s path length is 8 city blocks and Jill’s is 10 city blocks, the question asks for the distance between the starting point a ...
Mazzola`s Counterpoint Theory - Dmitri Tymoczko
... Judging by his explicit remarks, Fux also seems to permit “registral parallels” such as (C4, G4)(C5, F5), in which crossed voices articulate a pair of perfect fifths in register.5 Thus he is concerned with a very specific kind of melodic motion, rather than a general harmonic situation in which one ...
... Judging by his explicit remarks, Fux also seems to permit “registral parallels” such as (C4, G4)(C5, F5), in which crossed voices articulate a pair of perfect fifths in register.5 Thus he is concerned with a very specific kind of melodic motion, rather than a general harmonic situation in which one ...
Ancient Greek Music: A Technical History by Stefan Hagel
... highest: e, f, g, a (mesē diezeugmenōn), b, c, d, e’. But in order to notate the conjunct upper tetrachord of the Lower Perfect System, we will need one accidental, namely b♭: e, f, g, a (mesē synnēmenōn), b♭, c, d [see Figure 2]. This will be like modulating to a key with one flat from a natural key ...
... highest: e, f, g, a (mesē diezeugmenōn), b, c, d, e’. But in order to notate the conjunct upper tetrachord of the Lower Perfect System, we will need one accidental, namely b♭: e, f, g, a (mesē synnēmenōn), b♭, c, d [see Figure 2]. This will be like modulating to a key with one flat from a natural key ...
Chapter One Introduction to Quarter
... If we divide pitch space into equal-tempered quarter tones, we derive twenty-four pitches in each octave. Most composers use quarter tones as though they were extra pitches inserted into the middle of each of the familiar semitones, and therefore in many cases it is useful to think of the full set o ...
... If we divide pitch space into equal-tempered quarter tones, we derive twenty-four pitches in each octave. Most composers use quarter tones as though they were extra pitches inserted into the middle of each of the familiar semitones, and therefore in many cases it is useful to think of the full set o ...
viewed - VLDB Endowment
... So, the focus of this paper is on the easier (albeit still challenging!) problem of developing scored one-dimensional indices for processing multi-dimensional events. Given the above system architecture, the main technical challenge is devising efficient Scored Interval Indices. Existing interval in ...
... So, the focus of this paper is on the easier (albeit still challenging!) problem of developing scored one-dimensional indices for processing multi-dimensional events. Given the above system architecture, the main technical challenge is devising efficient Scored Interval Indices. Existing interval in ...
Linear Chromatic Flyer - James Jones Instruments
... Linear Chromatic Layout The Linear Chromatic hammer dulcimer solves the Diatonic problems in a simple and elegant way. The missing half steps or “accidentals” between the whole steps on each bridge have been added, making each bridge “linear” with half step note spacing up each bridge. These new not ...
... Linear Chromatic Layout The Linear Chromatic hammer dulcimer solves the Diatonic problems in a simple and elegant way. The missing half steps or “accidentals” between the whole steps on each bridge have been added, making each bridge “linear” with half step note spacing up each bridge. These new not ...
A Rule-based System for Tuning Chord Progressions
... Just intonation can similarly approximate every interval from any system to arbitrary precision; thus, for all practical purposes, equal temperament, and indeed any tuning system, is a subset of just intonation. It is therefore not a question of whether just intonation, defined as a system in which ...
... Just intonation can similarly approximate every interval from any system to arbitrary precision; thus, for all practical purposes, equal temperament, and indeed any tuning system, is a subset of just intonation. It is therefore not a question of whether just intonation, defined as a system in which ...
Basic Music Theory - 547 Canuck Squadron
... Chromatic Semitones and Diatonic Semitones . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Different Kinds of Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 The Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...
... Chromatic Semitones and Diatonic Semitones . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Different Kinds of Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 The Major Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...
PDF text - Music Theory Online
... temperament is called ¼-comma meantone—or often simply meantone—due to the size of its whole tone, which is the mean of the 9:8 and 10:9 whole tones first described in Ptolemy’s syntonic diatonic and proposed in several earlier sixteenthcentury treatises. (4) [5] If this temperament is extended to a ...
... temperament is called ¼-comma meantone—or often simply meantone—due to the size of its whole tone, which is the mean of the 9:8 and 10:9 whole tones first described in Ptolemy’s syntonic diatonic and proposed in several earlier sixteenthcentury treatises. (4) [5] If this temperament is extended to a ...
Level 4 Workbook
... 1. With 16th notes, the beat is divided into ____ parts. 2. Name the tonic note in the key of A major. _____ 3. Name the dominant note in the key of D major. _____ 4. Name the subdominant note in the key of G major. _____ 5. Common time (C) is another way to write ___________. 6. The relative minor ...
... 1. With 16th notes, the beat is divided into ____ parts. 2. Name the tonic note in the key of A major. _____ 3. Name the dominant note in the key of D major. _____ 4. Name the subdominant note in the key of G major. _____ 5. Common time (C) is another way to write ___________. 6. The relative minor ...
Master Your Theory Grade 1
... D flat is a semitone below D (D flat is another name for the black note between C and D) E flat is a semitone below E (E flat is the same note as D sharp on a keyboard). ...
... D flat is a semitone below D (D flat is another name for the black note between C and D) E flat is a semitone below E (E flat is the same note as D sharp on a keyboard). ...
THE HEXATONIC SYSTEMS UNDER NEO
... major and minor triads can also be defined mathematically. A triad is an ordered set of three pitches which are sequentially called the ‘root’, the ‘third’, and the ‘fifth’. A major triad is an ordered set of three pitches in which the third is four semitones above the root, and the fifth is seven s ...
... major and minor triads can also be defined mathematically. A triad is an ordered set of three pitches which are sequentially called the ‘root’, the ‘third’, and the ‘fifth’. A major triad is an ordered set of three pitches in which the third is four semitones above the root, and the fifth is seven s ...
Major and minor music compared to excited and subdued speech
... The MIDI melodies were coded in equal tempered tuning; however, we converted all intervals to just intonation for analysis since this tuning system is generally considered more “natural” than equal temperament 共see Sec. IV兲. C. Recording and analysis of voiced speech ...
... The MIDI melodies were coded in equal tempered tuning; however, we converted all intervals to just intonation for analysis since this tuning system is generally considered more “natural” than equal temperament 共see Sec. IV兲. C. Recording and analysis of voiced speech ...
What are Musical Scales?
... For example, the C major pentatonic (C - D - E - G – A) has the same notes as the A minor pentatonic (A - C - D - E – G) but arranged differently. The first note or tonic of the A minor pentatonic scale is 3 semitones (half steps) lower than the first note of the C major pentatonic scale. It uses th ...
... For example, the C major pentatonic (C - D - E - G – A) has the same notes as the A minor pentatonic (A - C - D - E – G) but arranged differently. The first note or tonic of the A minor pentatonic scale is 3 semitones (half steps) lower than the first note of the C major pentatonic scale. It uses th ...
Three Conceptions of Musical Distance
... semitones of total motion to move from C major to F minor, and three to move from C major to F major. (This is precisely why F minor often appears as a passing chord between F major and C major.) The Tonnetz thus depicts F major as being closer to C major than F minor is, even though contrapuntally ...
... semitones of total motion to move from C major to F minor, and three to move from C major to F major. (This is precisely why F minor often appears as a passing chord between F major and C major.) The Tonnetz thus depicts F major as being closer to C major than F minor is, even though contrapuntally ...
Finding Alternative Musical Scales
... errors that result for the major diatonic scale. For example, the fifth note of the scale is slightly flat when played on a tempered scale, and the third note is sharp. None of the errors is greater than 0.9%, or about 16 cents.2 Temperament was originally adopted to allow a musical instrument with ...
... errors that result for the major diatonic scale. For example, the fifth note of the scale is slightly flat when played on a tempered scale, and the third note is sharp. None of the errors is greater than 0.9%, or about 16 cents.2 Temperament was originally adopted to allow a musical instrument with ...
Book 3 - Advanced
... A feature of this presentation is that students can progress through the theory or practical aspects of the work at a pace which is consistent with their particular level of ability in each area, thereby avoiding the frustration of being held back say in the practical side because their theoretical ...
... A feature of this presentation is that students can progress through the theory or practical aspects of the work at a pace which is consistent with their particular level of ability in each area, thereby avoiding the frustration of being held back say in the practical side because their theoretical ...
ANALYSIS AND ANALYTIC TECHNIQUES IN AFRICAN MUSIC A
... In order to arrive at a fair assessment of the vital inner functions of the notes in a scale, certain features of the melody have to be considered. Shape: The shape of the song is important. Western melodies (if one can generalise) tend to start at a comfortable (low) pitch and meander more or less ...
... In order to arrive at a fair assessment of the vital inner functions of the notes in a scale, certain features of the melody have to be considered. Shape: The shape of the song is important. Western melodies (if one can generalise) tend to start at a comfortable (low) pitch and meander more or less ...
The Bohlen-Pierce Clarinet An Introduction to Acoustics and Playing
... according to various mathematical considerations. The result is an alternative harmonic system that opens new possibilities to contemporary and future music. Acoustically speaking, the octave's frequency ratio 1:2 is replaced by the ratio 1:3 in the Bohlen-Pierce scale, making the perfect twelfth an ...
... according to various mathematical considerations. The result is an alternative harmonic system that opens new possibilities to contemporary and future music. Acoustically speaking, the octave's frequency ratio 1:2 is replaced by the ratio 1:3 in the Bohlen-Pierce scale, making the perfect twelfth an ...
Mathemusical Thought - LUC Sakai
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...