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... These situations generally correspond to the modern “plagal” cadence. b. It is permissible to connect the two chords discussed above with one or two passing notes: either a major sixth alone, or a major sixth and augmented fourth (the fifth from the first chord moves to the sixth; the third from the ...
... These situations generally correspond to the modern “plagal” cadence. b. It is permissible to connect the two chords discussed above with one or two passing notes: either a major sixth alone, or a major sixth and augmented fourth (the fifth from the first chord moves to the sixth; the third from the ...
Music Theory Vocabulary - Trinity Bend Performing Arts
... A tone (usually the lowest), starting as a chord tone, becomes an NCT as the harmonies around it change, and finally ends up as a chord tone when the harmony is once more in agreement with it. The note which precedes (sets up) a suspension. The tone following a suspension and lying a 2nd below it. ...
... A tone (usually the lowest), starting as a chord tone, becomes an NCT as the harmonies around it change, and finally ends up as a chord tone when the harmony is once more in agreement with it. The note which precedes (sets up) a suspension. The tone following a suspension and lying a 2nd below it. ...
Lesson SSS - Diatonic Sequences
... Following an authentic cadence in m. 5, we find a series of chords descending by fifths. Comparing m. 6 with mm. 7-8, we find a repeated pattern in each measure, the only differences being the pitch level of each repetition. In the highest voice, the pattern begins on F in m. 6, and then repeats on ...
... Following an authentic cadence in m. 5, we find a series of chords descending by fifths. Comparing m. 6 with mm. 7-8, we find a repeated pattern in each measure, the only differences being the pitch level of each repetition. In the highest voice, the pattern begins on F in m. 6, and then repeats on ...
Higher Revision Booklet - Glow Blogs
... Do these before or after the music is played: Time signatures – can include 6/8. Look to see if quavers are grouped in 2s or 3s. Intervals – remember to count up from and including the lower note. Missing rests – know your rest shapes and count the beats in the bar carefully. Transpose down an octav ...
... Do these before or after the music is played: Time signatures – can include 6/8. Look to see if quavers are grouped in 2s or 3s. Intervals – remember to count up from and including the lower note. Missing rests – know your rest shapes and count the beats in the bar carefully. Transpose down an octav ...
Chapter 3 Melody and Harmony
... Most music centers around a home pitch ─ the key center or tonic Most pieces usually begin, spend a good share of the time in, and return to their key center or tonic. ...
... Most music centers around a home pitch ─ the key center or tonic Most pieces usually begin, spend a good share of the time in, and return to their key center or tonic. ...
Ornamentation in Music
... Suspension: A suspension occurs when the harmony shifts from one chord to another, but one or more notes of the first chord (the "Preparation") are either temporarily held over into or are played again against the second chord (against which they are nonchord tones called the "Suspension") before re ...
... Suspension: A suspension occurs when the harmony shifts from one chord to another, but one or more notes of the first chord (the "Preparation") are either temporarily held over into or are played again against the second chord (against which they are nonchord tones called the "Suspension") before re ...
Music - Manchester HEP
... feature of human psychology, not just cultural. The reason why is not understood. However we do now know that what matters is the frequencies of sounds, rather than the length directly. 2.1 The musical scale: the white notes Take some fundamental frequency f . Call this the tonic. Say (for example) ...
... feature of human psychology, not just cultural. The reason why is not understood. However we do now know that what matters is the frequencies of sounds, rather than the length directly. 2.1 The musical scale: the white notes Take some fundamental frequency f . Call this the tonic. Say (for example) ...
Name
... 42. Eighth notes are sometimes grouped together with BEAMS 43. Symbols at the beginning of each staff that identify a set of pitches is called a CLEF 44. Notes that extend above or below the staff use LEDGER lines 45. The smallest interval between notes is: a half step 46. The distance between two n ...
... 42. Eighth notes are sometimes grouped together with BEAMS 43. Symbols at the beginning of each staff that identify a set of pitches is called a CLEF 44. Notes that extend above or below the staff use LEDGER lines 45. The smallest interval between notes is: a half step 46. The distance between two n ...
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. (Some of these descending fifths are expressed as ascending fourths. This is done to avoid too low of a register.) Here, the sequ ...
... 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. (Some of these descending fifths are expressed as ascending fourths. This is done to avoid too low of a register.) Here, the sequ ...
Chords Triads
... Notice that the triads on the first, fourth and fifth degrees are major, whilst the triads on the second, third and sixth degrees are minor and the triad on the seventh degree is diminished. All major keys have this – major, minor, minor, major, major, minor, diminished pattern of triads. Note how t ...
... Notice that the triads on the first, fourth and fifth degrees are major, whilst the triads on the second, third and sixth degrees are minor and the triad on the seventh degree is diminished. All major keys have this – major, minor, minor, major, major, minor, diminished pattern of triads. Note how t ...
DCVLE - AP Central - The College Board
... • In a three- or four-part texture, a rising d5→P5 is acceptable ONLY in the progressions I V$ I6 and I vii°6 I6 (no deduction). • A rising d5→P5 in other progressions is unacceptable (1 point error). • The reverse, a rising P5→d5, is acceptable voice leading (no deduction). • Unequal fifths in eith ...
... • In a three- or four-part texture, a rising d5→P5 is acceptable ONLY in the progressions I V$ I6 and I vii°6 I6 (no deduction). • A rising d5→P5 in other progressions is unacceptable (1 point error). • The reverse, a rising P5→d5, is acceptable voice leading (no deduction). • Unequal fifths in eith ...
On Serial Music
... From the point of view of musicologists, these unresolved dominant sevenths are some of the most important chords ever to have been written; the discord at the start of the second bar is important enough to be referred to as The Tristan Chord. The dilemma produced by this piece was then: 'where does ...
... From the point of view of musicologists, these unresolved dominant sevenths are some of the most important chords ever to have been written; the discord at the start of the second bar is important enough to be referred to as The Tristan Chord. The dilemma produced by this piece was then: 'where does ...
Music Notes Beginners Class 1 :
... "a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic music, with particular reference to vocal music. Thus, exposure to akarams is very essential at this stage, albeit in a simple form. Varishais - Sequences: The great composer Purandara Dasa, hailed as the Father ...
... "a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic music, with particular reference to vocal music. Thus, exposure to akarams is very essential at this stage, albeit in a simple form. Varishais - Sequences: The great composer Purandara Dasa, hailed as the Father ...
here
... When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
... When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
Areas_of_study
... When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
... When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
AP THEORY_files/Notation
... Count the note you start on and the one you finish on Take the key you’re in into consideration ...
... Count the note you start on and the one you finish on Take the key you’re in into consideration ...
Musical Elements and Compositional Devices
... value. In traditional music there are four main types of cadence: Perfect: V – I Interrupted: V – vi ...
... value. In traditional music there are four main types of cadence: Perfect: V – I Interrupted: V – vi ...
Don Gray - Arranging Barbershop
... 4. Basses: roots and fifths only; not below low-F, not above middle-C. ...
... 4. Basses: roots and fifths only; not below low-F, not above middle-C. ...
SCALES and ORNAMENTS ~ Higher Level
... Relative major but raises the 6th and 7th notes by a semitone ascending, and similarly lowers them descending. ...
... Relative major but raises the 6th and 7th notes by a semitone ascending, and similarly lowers them descending. ...
Glossary Commonly Used Musical Terms and
... music and also the beginning of the following measure. beam - The line or lines connecting a group o f notes such as eighth notes and sixteenth notes. beat - The stress or pulse of music which may be f e l t by clapping or tapping. I t is the time, there m e four beats unit count of a measure of mus ...
... music and also the beginning of the following measure. beam - The line or lines connecting a group o f notes such as eighth notes and sixteenth notes. beat - The stress or pulse of music which may be f e l t by clapping or tapping. I t is the time, there m e four beats unit count of a measure of mus ...
“Eric Whitacre Sleep” Analysis
... • The first incidence of chord I (Eb) is seen in b.6 (see fig.II); It is a strong arrival via a surprisingly conventional perfect cadence (IV-V-I) firmly establishing Eb as the tonic. • Whitacre gives prominence to the IV chord (Ab) in Section A as the upbeat and climax chord of each phrase (e.g. b. ...
... • The first incidence of chord I (Eb) is seen in b.6 (see fig.II); It is a strong arrival via a surprisingly conventional perfect cadence (IV-V-I) firmly establishing Eb as the tonic. • Whitacre gives prominence to the IV chord (Ab) in Section A as the upbeat and climax chord of each phrase (e.g. b. ...
AoS2 – Harmony and Tonality
... Chords – major and minor ! A chord has two or more notes of different pitch sounded together ! The most common type of chord has three different notes, known as a triad ! Triads can be bui ...
... Chords – major and minor ! A chord has two or more notes of different pitch sounded together ! The most common type of chord has three different notes, known as a triad ! Triads can be bui ...
Lecture 6
... The organization of all the tones and harmonies of a piece of music in relation to a a single dominating pitch tone called the tonic. Remember that all these pitch's being used always seem to continually lean toward the tonic pitch throughout the musical piece. ...
... The organization of all the tones and harmonies of a piece of music in relation to a a single dominating pitch tone called the tonic. Remember that all these pitch's being used always seem to continually lean toward the tonic pitch throughout the musical piece. ...
KS4 Booklet 2012 - St Michael`s Catholic Academy
... When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
... When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
LABBS Harmony College 2003: Understanding the Barbershop Style
... by consonant four-part chords for every melody note in a predominantly homophonic texture. The melody is consistently sung by the lead, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord. The melody is not sung by the ten ...
... by consonant four-part chords for every melody note in a predominantly homophonic texture. The melody is consistently sung by the lead, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord. The melody is not sung by the ten ...