Reharmonization as Process in Fauré`s Prelude Op. 103, No. 3
... patterns in the sequence are transposed up by whole step, and within each pattern are hexatonic poles.13 The tonal distance between hexatonic poles makes this sequence jarring in effect, suggesting even more so than the sequence at the end of section 2 that the modulation requires some effort. At th ...
... patterns in the sequence are transposed up by whole step, and within each pattern are hexatonic poles.13 The tonal distance between hexatonic poles makes this sequence jarring in effect, suggesting even more so than the sequence at the end of section 2 that the modulation requires some effort. At th ...
MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 – HARMONY Introduction
... by changing some of these chords to a different chord type you can get some really nice, unexpected chord sequences. Some popular examples of this include changing a chord IV to a minor chord and chord III to a major chord. An example of both of these can be found in Radiohead’s ‘Creep’. The chord s ...
... by changing some of these chords to a different chord type you can get some really nice, unexpected chord sequences. Some popular examples of this include changing a chord IV to a minor chord and chord III to a major chord. An example of both of these can be found in Radiohead’s ‘Creep’. The chord s ...
Introduction to Figured Bass
... Initially, basso continuo players would look at just the bass line, with no additional information. The keyboard player’s choice of notes was left up to good taste and his or her understanding of the musical language and context of the piece. As tonal music became more complex, it became common to p ...
... Initially, basso continuo players would look at just the bass line, with no additional information. The keyboard player’s choice of notes was left up to good taste and his or her understanding of the musical language and context of the piece. As tonal music became more complex, it became common to p ...
File - Music by Heart Studio
... of the human voice. The lyricism that is associated with Fauré’s songs is also found in this work. The text is expressed through the rise and fall of the melodic line. This is clearly recognizable when comparing each of the three stanzas. The melody line in stanza one reaches an octave, although nev ...
... of the human voice. The lyricism that is associated with Fauré’s songs is also found in this work. The text is expressed through the rise and fall of the melodic line. This is clearly recognizable when comparing each of the three stanzas. The melody line in stanza one reaches an octave, although nev ...
non-serial criteria in the pitch organization of webern`s twelve
... It is precisely these tendencies that the new twelve-note technique recognised and codified: —It prohibited repetition, to create constant contrast. —It conferred equal importance on all twelve semitones of the chromatic scale, to preserve the panchromatic character of the music. —It organised the t ...
... It is precisely these tendencies that the new twelve-note technique recognised and codified: —It prohibited repetition, to create constant contrast. —It conferred equal importance on all twelve semitones of the chromatic scale, to preserve the panchromatic character of the music. —It organised the t ...
Glossary - terms used in music analysis
... Aeolian mode - an ancient scale which is identical to the natural minor scale. See mode. ...
... Aeolian mode - an ancient scale which is identical to the natural minor scale. See mode. ...
![Compositional trajectories [Medieval music]](http://s1.studyres.com/store/data/012781418_1-1acbf3c6fa6c77e5d5672bca000c933b-300x300.png)
Compositional trajectories [Medieval music]
... classification schemes into subtler issues of melodic behaviour immediately requires limits to be defined that are generic, chronological and geographical. Poised on the brink of that potentially vast effort, the work of many books, a few examples will serve here briefly to lay some groundwork. To b ...
... classification schemes into subtler issues of melodic behaviour immediately requires limits to be defined that are generic, chronological and geographical. Poised on the brink of that potentially vast effort, the work of many books, a few examples will serve here briefly to lay some groundwork. To b ...
Automatic Chord Detection - People Pages
... As a second example, we loaded a sound recording of the first three measures of Beethoven’s Moonlight Sonata into AUDACITY.2 The score is shown at the top of Figure 4. We have put chord notations directly below the score. These chords are marked in terms of pitch classes only. For example, the first ...
... As a second example, we loaded a sound recording of the first three measures of Beethoven’s Moonlight Sonata into AUDACITY.2 The score is shown at the top of Figure 4. We have put chord notations directly below the score. These chords are marked in terms of pitch classes only. For example, the first ...
Introduction Local Boundary Detection Model Study of Expressive Timing (LBDM)
... Friberg et al (1998) developed a set of punctuation rules called the Punctuation Rule System. The system marks low-level structural boundaries in a melody. (i.e. comma for a pause) These rules were tested against an expert performer's punctuation and the LBDM. ...
... Friberg et al (1998) developed a set of punctuation rules called the Punctuation Rule System. The system marks low-level structural boundaries in a melody. (i.e. comma for a pause) These rules were tested against an expert performer's punctuation and the LBDM. ...
Dictionary of Musical Terms
... Instrumentation - The art of composing, orchestrating, or arranging for an instrumental ensemble. Interval - The difference in pitch between two tones. Inversion - As applied to music the term may be used in both melody and harmony. Melodic inversion: an exchange of ascending and descending movemen ...
... Instrumentation - The art of composing, orchestrating, or arranging for an instrumental ensemble. Interval - The difference in pitch between two tones. Inversion - As applied to music the term may be used in both melody and harmony. Melodic inversion: an exchange of ascending and descending movemen ...
69s and pentatonics
... melody note is the root of the chord owing to the semitone clash between the major 7th note and the root. The chords can also be used for their own sake when required. ...
... melody note is the root of the chord owing to the semitone clash between the major 7th note and the root. The chords can also be used for their own sake when required. ...
2009 HSC Music 1 Aural Skills Sample Answers
... The melody in this verse moves up and down in an octave range and is a four bar melody repeated, with the climax being on the second part of each phrase ‘am I too dirty? Am I too flirty? And ‘why don’t you like me? etc, which are both an octave above the starting melody. The second melodic section i ...
... The melody in this verse moves up and down in an octave range and is a four bar melody repeated, with the climax being on the second part of each phrase ‘am I too dirty? Am I too flirty? And ‘why don’t you like me? etc, which are both an octave above the starting melody. The second melodic section i ...
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 ...
Analysis of ``Kol Nidrei
... Figure 1.2. However, in this recording the violist elected to perform measures 9-12 up one octave than as written, and perform measures 13-16 down one octave as written. Since these two sections are the same melodic line, the performer essentially interchanged them. Figure 1.1 below shows a spectrog ...
... Figure 1.2. However, in this recording the violist elected to perform measures 9-12 up one octave than as written, and perform measures 13-16 down one octave as written. Since these two sections are the same melodic line, the performer essentially interchanged them. Figure 1.1 below shows a spectrog ...
`Modality` and other short articles for EPMOW
... drone). Drones act as tonal reference point and background for the changing pitch of other strands in the music. They are a common feature in many forms of popular music throughout the world and may be vocal or instrumental. Vocal drones can be found in, for example, the antiphonal rhythms of tradit ...
... drone). Drones act as tonal reference point and background for the changing pitch of other strands in the music. They are a common feature in many forms of popular music throughout the world and may be vocal or instrumental. Vocal drones can be found in, for example, the antiphonal rhythms of tradit ...
music
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
Western music history, pitch salience, key profiles, and the origins of
... Most sonorities are major and minor triads Final fifth replaced by triad; tierce de Picardie ...
... Most sonorities are major and minor triads Final fifth replaced by triad; tierce de Picardie ...
Music Theory 101 (Basic)
... Using this formula, if you start from tone D and you will be able to form the scale in D Major and so on. ...
... Using this formula, if you start from tone D and you will be able to form the scale in D Major and so on. ...
The Sound of It: Chords and “Sonority”
... carry the weight of the melody, the ones that are there for decoration, and the ones that don’t belong there at all but might appear for fun. The relative importance of each note in a scale is called the pitch hierarchy. THE 12 WESTERN MODES In the eighth century, a system of 8 “church” modes emerge ...
... carry the weight of the melody, the ones that are there for decoration, and the ones that don’t belong there at all but might appear for fun. The relative importance of each note in a scale is called the pitch hierarchy. THE 12 WESTERN MODES In the eighth century, a system of 8 “church” modes emerge ...
The Music Staff
... on a line. The space above that line is named for the next letter in the music alphabet. The space above the G line is A because the music alphabet starts over after G. The space above the C line is D. ...
... on a line. The space above that line is named for the next letter in the music alphabet. The space above the G line is A because the music alphabet starts over after G. The space above the C line is D. ...
Quick Guide To Chord Charts The term harmonic rhythm refers to
... the music to be accompanied is known. In the standard form of notation for songs, called a lead sheet, the melody is given in staff notation. The harmonic rhythm is usually indicated by the placement of chord symbols, above the notation for the melody, at the points in time at which changes of chord ...
... the music to be accompanied is known. In the standard form of notation for songs, called a lead sheet, the melody is given in staff notation. The harmonic rhythm is usually indicated by the placement of chord symbols, above the notation for the melody, at the points in time at which changes of chord ...
COURSE TITLE - Metropolitan Community College
... 6. Derive various key signatures from the major and minor scales. 7. Use your speaking voice to illustrate different dynamic levels and the tapping of your hand to differentiate different tempos. 8. Build triads and seventh chords on the staff and at the piano. 9. Invert triads and seventh chords co ...
... 6. Derive various key signatures from the major and minor scales. 7. Use your speaking voice to illustrate different dynamic levels and the tapping of your hand to differentiate different tempos. 8. Build triads and seventh chords on the staff and at the piano. 9. Invert triads and seventh chords co ...
Musical Intervals and Scales
... The Minor Scales • A different pattern of intervals produces all of the Harmonic Minor Scales • The Melodic Minor Scales are a variation of these, their intervals change depending upon whether the scale is ascended or ...
... The Minor Scales • A different pattern of intervals produces all of the Harmonic Minor Scales • The Melodic Minor Scales are a variation of these, their intervals change depending upon whether the scale is ascended or ...