The Craft of Singing
... extending down to C, an octave below middle c'. Since one of the primary characteristics of barbershop music is its cone-shaped sound, the bass must sing with a heavier production than that used by the upper voices, and she will actually sing with more volume than used by any part above her. The har ...
... extending down to C, an octave below middle c'. Since one of the primary characteristics of barbershop music is its cone-shaped sound, the bass must sing with a heavier production than that used by the upper voices, and she will actually sing with more volume than used by any part above her. The har ...
MTO 1.1: Rothgeb, The Tristan Chord
... perhaps by letting the upper voice first leap to C and reach the B thence by descending a step; this might result in a cadential above the bass E. Another possibility, however, is to apply a slide (Schleifer) as in Example 2c. This ornament makes it possible for the treble to express the stepwise mo ...
... perhaps by letting the upper voice first leap to C and reach the B thence by descending a step; this might result in a cadential above the bass E. Another possibility, however, is to apply a slide (Schleifer) as in Example 2c. This ornament makes it possible for the treble to express the stepwise mo ...
Handout on Set Theory: Intervals and Atonality
... And see that this one is (42605T) or written in ascending order (02456T). Again we can see that we have a number of notes bunched together with a few outliers, so these two chords, both found in prominent positions in the piece are in a sense related. (There are many more sophisticated ways of compa ...
... And see that this one is (42605T) or written in ascending order (02456T). Again we can see that we have a number of notes bunched together with a few outliers, so these two chords, both found in prominent positions in the piece are in a sense related. (There are many more sophisticated ways of compa ...
Non-Linear Piano Deluxe
... Natural—a note which has neither a sharp nor a flat Quarter Note—q ; a note worth twice as much as an eighth note; usually worth 1 beat, but can vary with different time signatures Repertoire—the list of songs a musician is prepared to perform Scale—A set of notes, usually taken directly from a key ...
... Natural—a note which has neither a sharp nor a flat Quarter Note—q ; a note worth twice as much as an eighth note; usually worth 1 beat, but can vary with different time signatures Repertoire—the list of songs a musician is prepared to perform Scale—A set of notes, usually taken directly from a key ...
The Geometry of Musical Chords REPORTS
... (not necessarily bijective) between arbitrary chords (16). Every music-theoretical measure of voice-leading size satisfies these constraints. I now describe the geometry of musical chords. An ordered sequence of n pitches can be represented as a point in Rn (fig. S4). Directed line segments in this ...
... (not necessarily bijective) between arbitrary chords (16). Every music-theoretical measure of voice-leading size satisfies these constraints. I now describe the geometry of musical chords. An ordered sequence of n pitches can be represented as a point in Rn (fig. S4). Directed line segments in this ...
Musical Scales and Tonality - University of Toronto Scarborough
... Level 1: Level 2: Level 3: Level 4: ...
... Level 1: Level 2: Level 3: Level 4: ...
1 Consonance and Dissonance in Theory, Practice and Science
... commonality depends only on those pitches that fall in the same semitone categories, and their perceptual salience. The theory of pitch commonality is an attempt to answer simple music-theoretic questions such as: Why do successive isolated tones spanning octave, fifth and fourth intervals sound mor ...
... commonality depends only on those pitches that fall in the same semitone categories, and their perceptual salience. The theory of pitch commonality is an attempt to answer simple music-theoretic questions such as: Why do successive isolated tones spanning octave, fifth and fourth intervals sound mor ...
Name
... 32. The key signature for G Major and E Minor is: F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A maj ...
... 32. The key signature for G Major and E Minor is: F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A maj ...
On Tonal Dynamics and Musical Meaning - Signata
... a privileged tonal space, into which the tonal formants, or series of harmonics, are projected to form salient intervals with the basic tone (the tonic) and thereby give rise to the phenomenon of tonal scales. Humans can distinguish about 240 pitches within an octave in the mid-range of hearing. Nev ...
... a privileged tonal space, into which the tonal formants, or series of harmonics, are projected to form salient intervals with the basic tone (the tonic) and thereby give rise to the phenomenon of tonal scales. Humans can distinguish about 240 pitches within an octave in the mid-range of hearing. Nev ...
KEY TERMINOLOGY AT GCSE Texture Unison A simple texture with
... A held note usually the Tonic held throughout a piece or a large section to form a very simple accompaniment. ...
... A held note usually the Tonic held throughout a piece or a large section to form a very simple accompaniment. ...
Triads
... You should notice that the tonic is always minor, the supertonic and leading tone triads are diminished, and the dominant triad is major. The dominant must be major in order to function as a true dominant sound. This is primarily because it contains a half-step leading tone, B natural, which will st ...
... You should notice that the tonic is always minor, the supertonic and leading tone triads are diminished, and the dominant triad is major. The dominant must be major in order to function as a true dominant sound. This is primarily because it contains a half-step leading tone, B natural, which will st ...
Lesson_SSS_-_Diatoni..
... The root of each successive triad, starting with the tonic chord on the third beat of m. 5, is a fifth lower than the previous one: i – iv – VII – III – VI – iio – V – i. (Note that some of these descending fifths are expressed as ascending fourths. This is done to avoid too low of a register.) Here ...
... The root of each successive triad, starting with the tonic chord on the third beat of m. 5, is a fifth lower than the previous one: i – iv – VII – III – VI – iio – V – i. (Note that some of these descending fifths are expressed as ascending fourths. This is done to avoid too low of a register.) Here ...
Music, Mathematics and Bach --------~--------
... most other cultures. The idea of 'part singing' evolved, where different voices in a vocal ensemble sing different melodies, which in general would be a very jarring thing, but these melodies are chosen and combined in such a way as to have a pleasant overall effect. How they should be combined depe ...
... most other cultures. The idea of 'part singing' evolved, where different voices in a vocal ensemble sing different melodies, which in general would be a very jarring thing, but these melodies are chosen and combined in such a way as to have a pleasant overall effect. How they should be combined depe ...
Music Theory Notes and Test
... upper indicating the notes to be played by the right hand, the lower indicating the notes to be played by the left hand, bar lines are commonly drawn from the top of the upper line on the upper stave to the bottom line on the lower stave. This is illustrated below. Page 1 of 4 ...
... upper indicating the notes to be played by the right hand, the lower indicating the notes to be played by the left hand, bar lines are commonly drawn from the top of the upper line on the upper stave to the bottom line on the lower stave. This is illustrated below. Page 1 of 4 ...
document - Far Western District
... diminished, augmented, suspended) that simply BEGGED to be released to a major finish. Most often, the “Barbershop 7th” (Minor 7th, Dominant 7th) is used to generate this tension. We’ll investigate and experience this later. 4. Use of Circle of Fifths movement: Without getting too technical, we use ...
... diminished, augmented, suspended) that simply BEGGED to be released to a major finish. Most often, the “Barbershop 7th” (Minor 7th, Dominant 7th) is used to generate this tension. We’ll investigate and experience this later. 4. Use of Circle of Fifths movement: Without getting too technical, we use ...
¾: A time signature representing 3 beats in a measure where the
... 33. Dotted Half Note: A note that receives 3 beats of sound in 4/4 time 34. Dotted Half Rest: A rest that receives 3 beats of silence in 4/4 time 35. Double Bar Line: A double vertical or heavy black line drawn through a staff to indicate the end of any of the main sections of a composition 36. Due ...
... 33. Dotted Half Note: A note that receives 3 beats of sound in 4/4 time 34. Dotted Half Rest: A rest that receives 3 beats of silence in 4/4 time 35. Double Bar Line: A double vertical or heavy black line drawn through a staff to indicate the end of any of the main sections of a composition 36. Due ...
UNIT 1: Intervals and Scales
... Diminished triad is used exclusively in first inversion iio6 used before a dominant chord(double third/bass note) viio6 dominant quality because this chord shares 2 notes with the V chord (double third/bass note and move all voices stepwise as much as possible) Second inversionOnly ...
... Diminished triad is used exclusively in first inversion iio6 used before a dominant chord(double third/bass note) viio6 dominant quality because this chord shares 2 notes with the V chord (double third/bass note and move all voices stepwise as much as possible) Second inversionOnly ...
On Interpreting Bach - Engineering Class s
... – All notes are considered congruent until key and meter have been established (unless it is noncongruent with all possibilities) – Once key and meter have been established, the notes that follow are labeled congruent or noncongruent ...
... – All notes are considered congruent until key and meter have been established (unless it is noncongruent with all possibilities) – Once key and meter have been established, the notes that follow are labeled congruent or noncongruent ...
Melody - Cengage Learning
... Moves largely by step Uses only one note for each word or syllable Music expresses very well the idea of the words Has a very simple accompanying part ...
... Moves largely by step Uses only one note for each word or syllable Music expresses very well the idea of the words Has a very simple accompanying part ...
STRATFORD PUBLIC SCHOOLS Music Department – Music Theory
... Demonstrate a knowledge of all cadences aurally and through analysis of music. Write cadences in 3 and 4 part harmony. Analyze music in terms of phrases and periods aurally and in written form. Create diagrams of musical form based on phrases, periods, and cadences. Recognize a motive and how it is ...
... Demonstrate a knowledge of all cadences aurally and through analysis of music. Write cadences in 3 and 4 part harmony. Analyze music in terms of phrases and periods aurally and in written form. Create diagrams of musical form based on phrases, periods, and cadences. Recognize a motive and how it is ...
File
... The closing of the poco piu lento section slightly alters the phrasing. A breath is clearly signaled by a rest on beat 3 of the final measure of the phrase. In the allegro section, with the exception of m.76-84, all breaths are clearly marked by the use of rest. Although there are rests in the solo ...
... The closing of the poco piu lento section slightly alters the phrasing. A breath is clearly signaled by a rest on beat 3 of the final measure of the phrase. In the allegro section, with the exception of m.76-84, all breaths are clearly marked by the use of rest. Although there are rests in the solo ...
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 ...
MUSICAL TERMS AND DEFINITIONS
... 2. I can tell the meaning of this. 3. I can write this, draw it, and tell the meaning. 4. I can find examples of this in real music and teach it to a friend. 5. I knew this all last time and I still remember it without being ...
... 2. I can tell the meaning of this. 3. I can write this, draw it, and tell the meaning. 4. I can find examples of this in real music and teach it to a friend. 5. I knew this all last time and I still remember it without being ...
38. Schubert Der Doppelgänger Background information and performance circumstances 1
... one (with B–A natural–D–C# in outer parts – ‘ostinato 2’) echo of voice part from line 2, with previous chord prolonged ostinato 1 ostinato 2 as previous interlude ostinato 1 ostinato 2, extended to 5 bars with fourth chord replaced by French sixth for greater intensity. ostinato 1 ostinato 2, exten ...
... one (with B–A natural–D–C# in outer parts – ‘ostinato 2’) echo of voice part from line 2, with previous chord prolonged ostinato 1 ostinato 2 as previous interlude ostinato 1 ostinato 2, extended to 5 bars with fourth chord replaced by French sixth for greater intensity. ostinato 1 ostinato 2, exten ...