Sample Responses Q6 - AP Central
... 2. Uncharacteristic hidden (covered) or direct octaves or fifths between outer voices. (See DCVLE, nos. 5 and 6.) 3. Overlapping voices. (See DCVLE, no. 7.) 4. Motion leading to a chord with crossed voices. (See DCVLE, no. 8.) 5. A chordal seventh approached by a descending leap. C. Award no points ...
... 2. Uncharacteristic hidden (covered) or direct octaves or fifths between outer voices. (See DCVLE, nos. 5 and 6.) 3. Overlapping voices. (See DCVLE, no. 7.) 4. Motion leading to a chord with crossed voices. (See DCVLE, no. 8.) 5. A chordal seventh approached by a descending leap. C. Award no points ...
Supporting Materials - Melody, Rhythm, Accompaniment
... In Orff Schulwerk, participants are introduced to the basic elements of music, rhythm, melody, harmony, form, timbre, texture, and dynamics through developmental exercises in speech, singing, movement, and playing instruments. Students are led to conscious awareness and understanding of an element o ...
... In Orff Schulwerk, participants are introduced to the basic elements of music, rhythm, melody, harmony, form, timbre, texture, and dynamics through developmental exercises in speech, singing, movement, and playing instruments. Students are led to conscious awareness and understanding of an element o ...
A CONTOUR-BASED JAZZ WALKING BASS GENERATOR
... phrases played by good bass players tend to have very often a length of two measures instead of just one. This creates more fluent lines contributing to the smoothness of the musical form but also to the musical dynamics and movement by relieving the measure-by-measure step size. Regarding harmony, ...
... phrases played by good bass players tend to have very often a length of two measures instead of just one. This creates more fluent lines contributing to the smoothness of the musical form but also to the musical dynamics and movement by relieving the measure-by-measure step size. Regarding harmony, ...
Tristan, Isolde
... chord from Wagner’s opera. In the pedalling indications, which are marked with a gradually upward-slanting line, it is intended that each player depress the pedal before playing a new chord, and then gradually release it over about 3 seconds whilst sustaining the written pitches with fingers, thus c ...
... chord from Wagner’s opera. In the pedalling indications, which are marked with a gradually upward-slanting line, it is intended that each player depress the pedal before playing a new chord, and then gradually release it over about 3 seconds whilst sustaining the written pitches with fingers, thus c ...
Musical Dynamics (soft and loud) pp very soft Almost a whisper P
... The staff is the fundamental latticework of music notation, on which musical symbols are placed. The five staff lines and four intervening spaces correspond to pitches of the scale. Each musical pitch is given line or space. ...
... The staff is the fundamental latticework of music notation, on which musical symbols are placed. The five staff lines and four intervening spaces correspond to pitches of the scale. Each musical pitch is given line or space. ...
Year-9-Music
... o A repeated musical pattern in the bass part upon which chords and melodies can be performed and varied. This variety often gets more complex as the piece proceeds o A unifying feature in much music of the Baroque period and popular songs. o This makes Ground Bass a particular type of variation for ...
... o A repeated musical pattern in the bass part upon which chords and melodies can be performed and varied. This variety often gets more complex as the piece proceeds o A unifying feature in much music of the Baroque period and popular songs. o This makes Ground Bass a particular type of variation for ...
Higher Music Concepts
... Sonata form is the structure of the first movement of many sonatas, symphonies and often overtures. It contains three sections: exposition (introduction of two contrasting themes in related keys), development (the original ideas are built upon) and recapitulation (the original ideas are heard again, ...
... Sonata form is the structure of the first movement of many sonatas, symphonies and often overtures. It contains three sections: exposition (introduction of two contrasting themes in related keys), development (the original ideas are built upon) and recapitulation (the original ideas are heard again, ...
Diatonic Harmony Primer - John Ely`s Steel Guitar Web
... that scale degree and carrying the name associated with that degree. So the tonic triad is built on degree 1, 3, and 5; the supertonic triad is build on degree 2, 4, and 6; and so on. The seven diatonic triads for the key of C are shown in the diagram (right) and are commonly labeled using the Roman ...
... that scale degree and carrying the name associated with that degree. So the tonic triad is built on degree 1, 3, and 5; the supertonic triad is build on degree 2, 4, and 6; and so on. The seven diatonic triads for the key of C are shown in the diagram (right) and are commonly labeled using the Roman ...
cadences - UT School of Music
... • The dominant functioning chord may be a V, V7, viio, viio7, and any other their inversions. • Authentic cadences may be perfect or imperfect. Perfect Authentic cadence: • Must have scale degree 5 followed by scale degree 1 in the bass. (V-I or V7-I) • Must have scale degree 1 in soprano in the ton ...
... • The dominant functioning chord may be a V, V7, viio, viio7, and any other their inversions. • Authentic cadences may be perfect or imperfect. Perfect Authentic cadence: • Must have scale degree 5 followed by scale degree 1 in the bass. (V-I or V7-I) • Must have scale degree 1 in soprano in the ton ...
The Geometry of Melodic, Harmonic, and Metrical
... hierarchy in terms of intervals rather than notes corrects this situation, so that rhythmic and tonal patterns can be compared directly in terms of hierarchic structure. Property (3) provides a useful heuristic for present purposes. Although non-binary relationships can exist in melodic, harmonic, a ...
... hierarchy in terms of intervals rather than notes corrects this situation, so that rhythmic and tonal patterns can be compared directly in terms of hierarchic structure. Property (3) provides a useful heuristic for present purposes. Although non-binary relationships can exist in melodic, harmonic, a ...
Handel: Chorus: `And the Glory of the Lord` from the oratorio
... Altered chords: Sharpening/flattening one of the notes of the chords to make it a chromatic note. Examples of bars with altered chords are: 17/18 and 33/34. Chord substitution: replacing one chord with another. 7th Chords: notes from the major triad with an added minor 7th, e.g. G7= G B D and F The ...
... Altered chords: Sharpening/flattening one of the notes of the chords to make it a chromatic note. Examples of bars with altered chords are: 17/18 and 33/34. Chord substitution: replacing one chord with another. 7th Chords: notes from the major triad with an added minor 7th, e.g. G7= G B D and F The ...
Chords, Keys, and Scales - What are they, and
... The melodic minor scale is trickier – but it sounds very beautiful! In the melodic, the 6 and 7th notes are raised when the scale is ascending, but lowered (back to their “natural” state when descending: A B C D E F# G# A going up; A G F E D C B A coming down. .) Look up the explanation of the ‘Cind ...
... The melodic minor scale is trickier – but it sounds very beautiful! In the melodic, the 6 and 7th notes are raised when the scale is ascending, but lowered (back to their “natural” state when descending: A B C D E F# G# A going up; A G F E D C B A coming down. .) Look up the explanation of the ‘Cind ...
what is harmony
... below. For example: C (chord 1 in the key of C major) with an added minor 7th become C7; ie. chord V7 in the key of F major. In this way you can cycle around all twelve keys. C7-F7-Bb7-Eb7-Ab7-Db7(ie.C#7)-F#7-B7-E7-A7-D7-G7-C. The above is a very basic explanation of music harmony and chord structur ...
... below. For example: C (chord 1 in the key of C major) with an added minor 7th become C7; ie. chord V7 in the key of F major. In this way you can cycle around all twelve keys. C7-F7-Bb7-Eb7-Ab7-Db7(ie.C#7)-F#7-B7-E7-A7-D7-G7-C. The above is a very basic explanation of music harmony and chord structur ...
musicianship project - 2011
... are also perfect 5ths intervals. The first three notes in the soprano and alto voice are major 3rd intervals, the first two notes skip. The fourth note in the soprano and alto voice in m.40 is a major 6th. In measure 41 the tenor and alto notes move up consecutively in eighth notes. The notes in the ...
... are also perfect 5ths intervals. The first three notes in the soprano and alto voice are major 3rd intervals, the first two notes skip. The fourth note in the soprano and alto voice in m.40 is a major 6th. In measure 41 the tenor and alto notes move up consecutively in eighth notes. The notes in the ...
Figured Bass and Tonality Recognition
... In this Gavotte, whose figured bass is given below (see Figure 11), the harmony is a seventh chord on the dominant of D (A - C# - E - G). But in some other contexts, it can be a sixth chord on the root of F# (this analysis being the one produced by our algorithm). More generally, we must limit the s ...
... In this Gavotte, whose figured bass is given below (see Figure 11), the harmony is a seventh chord on the dominant of D (A - C# - E - G). But in some other contexts, it can be a sixth chord on the root of F# (this analysis being the one produced by our algorithm). More generally, we must limit the s ...
2 – First Species Counterpoint
... Example 2-2 presents three “rough draft” harmonizations of a cantus firmus in Eb Major, two of which have flaws that are common to many early attempts at counterpoint. Solution A is the only good solution of the three. Notice that it uses only tonic and dominant chords, which isn’t necessarily desir ...
... Example 2-2 presents three “rough draft” harmonizations of a cantus firmus in Eb Major, two of which have flaws that are common to many early attempts at counterpoint. Solution A is the only good solution of the three. Notice that it uses only tonic and dominant chords, which isn’t necessarily desir ...
Music Fundamentals Primer Lesson 1 – Clefs and Pitch Notation
... the top and bottom lines, and count by letter name up or down to find the pitch. Notes outside of the range of the clefs can be accommodated with ledger lines, which are drawn above or below the staff only when needed for a high or low note. Accidentals are applied to notes to raise or lower natural ...
... the top and bottom lines, and count by letter name up or down to find the pitch. Notes outside of the range of the clefs can be accommodated with ledger lines, which are drawn above or below the staff only when needed for a high or low note. Accidentals are applied to notes to raise or lower natural ...
Symmetry in Music - College of the Holy Cross
... In other words, this canon is a musical “palindrome” -- as a whole piece of music, it is symmetric under reflection in time around the barline between measures 9 and 10. It would sound the same played forwards or backward in time(!) Another point: Who's Kirnberger? We didn't mention this before, b ...
... In other words, this canon is a musical “palindrome” -- as a whole piece of music, it is symmetric under reflection in time around the barline between measures 9 and 10. It would sound the same played forwards or backward in time(!) Another point: Who's Kirnberger? We didn't mention this before, b ...
Major Diatonic Chords
... notes (the G and D) as part of the overall chord, which then becomes an F13 chord. In classical music, the bottom four notes form the dominant F 7th chord, but the top two notes are classified as non-chord tones or NCTs; they do not form part of the chord. As such, these two notes must be resolved i ...
... notes (the G and D) as part of the overall chord, which then becomes an F13 chord. In classical music, the bottom four notes form the dominant F 7th chord, but the top two notes are classified as non-chord tones or NCTs; they do not form part of the chord. As such, these two notes must be resolved i ...
a PDF version of this work.
... qualities and tension to the music, and can provide added extra musical affectation to a given composition. Additionally these absorbed dissonances and chromatic alterations yield new types of sonorities that share these same affective qualities. Chromaticism is used to change tonal focus, or to shi ...
... qualities and tension to the music, and can provide added extra musical affectation to a given composition. Additionally these absorbed dissonances and chromatic alterations yield new types of sonorities that share these same affective qualities. Chromaticism is used to change tonal focus, or to shi ...
Schenkerian Theory, Neo-Riemannian Theory and Late Schubert: A
... 93–169)—are to be understood as bass interpolations that do not achieve the status of harmonic steps. These interpolations are indicated by the empty parenthesis in Schenker’s first level of roman numeral analysis. A neo-Riemannian analysis of the fourth movement of D958 The extent to which Schenker ...
... 93–169)—are to be understood as bass interpolations that do not achieve the status of harmonic steps. These interpolations are indicated by the empty parenthesis in Schenker’s first level of roman numeral analysis. A neo-Riemannian analysis of the fourth movement of D958 The extent to which Schenker ...
Music Vocabulary - TJ-Reed
... Dot- A symbol placed to the right of a not that increases the duration of the note by one half. Enharmonic-Two notes that sound the same, but are spelled musically different. Ex. Ab and G# Genre- a category of musical compositions Ex. classical, medieval, sacred, secular, rock, pop, modern Grand Sta ...
... Dot- A symbol placed to the right of a not that increases the duration of the note by one half. Enharmonic-Two notes that sound the same, but are spelled musically different. Ex. Ab and G# Genre- a category of musical compositions Ex. classical, medieval, sacred, secular, rock, pop, modern Grand Sta ...
playing the organ works of mendelssohn
... Sonata No. 1, Allegro assai vivace Pedal technique is often reduced to the simple question whether one “may” or “may not” use the heel in the works of a given composer. I can’t even begin to address the problems I have with that oversimplified approach! In the “Schübler” Chorales, I now recommend he ...
... Sonata No. 1, Allegro assai vivace Pedal technique is often reduced to the simple question whether one “may” or “may not” use the heel in the works of a given composer. I can’t even begin to address the problems I have with that oversimplified approach! In the “Schübler” Chorales, I now recommend he ...
Non-chord Tones
... Non-chord tones • Non-chord tones (non-harmonic tones) are parts of a melody that are not part of the harmony • They can be found in any voice and are used to embellish the music • They may be accented (on a downbeat) or unaccented (on an upbeat) • Three parts: Preparation (note before), NCT, resol ...
... Non-chord tones • Non-chord tones (non-harmonic tones) are parts of a melody that are not part of the harmony • They can be found in any voice and are used to embellish the music • They may be accented (on a downbeat) or unaccented (on an upbeat) • Three parts: Preparation (note before), NCT, resol ...
Sample Grade 1 Theory Paper
... Circle five different mistakes in the following music, then write it out correctly. ...
... Circle five different mistakes in the following music, then write it out correctly. ...