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Music Theory answers
Music Theory answers

... Accidentals start to appear consistently or the composer writes in a key change Minor scales have up to 3 lowered pitches as compared to major scales. What is the scale degree that must be lowered for a piece to sound minor? 3 or 3rd Because our ears hear major keys as a default, what two pitches de ...
your name - Julianne Baird
your name - Julianne Baird

... d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used only in jazz and non western music b. music created at the same time it is performed c. the addition of ornaments not indicated in the printed music d. all of the above 36. A song in which several ...
1 - Julianne Baird
1 - Julianne Baird

... d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used only in jazz and non western music b. music created at the same time it is performed c. the addition of ornaments not indicated in the printed music d. all of the above 36. A song in which several ...
1 - Julianne Baird
1 - Julianne Baird

... d. a shift from one key to another within the same composition 35. Improvisation is a. a technique used only in jazz and non western music b. music created at the same time it is performed c. the addition of ornaments not indicated in the printed music d. all of the above 36. A song in which several ...
Elements of Music - Harmony
Elements of Music - Harmony

... **If a melody centers around the note C, it is said to be in the Key of C. Keys can also be major or minor. Each key has a family of chords associated with it. Modulation is the process of changing from one key center (tonic) to another. Sometimes a piece of music will have several different key cen ...
Guidelines for the Analysis of Twentieth
Guidelines for the Analysis of Twentieth

... difficult to find a tonal or harmonic motivation are tied together by a clearly directional movement in scalewise lines, either in melodic voices or in the bass. VII. Rhythm: 20th-century music is characterized by a much greater rhythmic freedom than the tonal music of the 17th through 19th centurie ...
Elementary Harmony
Elementary Harmony

... Let us assume that you have just heard a single musical sound… ...
Figured Bass Basic Concepts
Figured Bass Basic Concepts

... analysis. The practice of using Roman numerals to track the harmony can accommodate non-diatonic chords tones using the following conventions: a. flat or sharp in front of a figure lowers or raises the diatonic pitch by a half step. b. slash through the figure raises the pitch, just like a sharp. c. ...
Scales - MUS 231: Music in Western Civ
Scales - MUS 231: Music in Western Civ

... central pitch (the tonic) – Modulation: a musical move to a different tonal center ...
Stage 1: Desired Results Stage 2 : Assessment Evidence Stage 3
Stage 1: Desired Results Stage 2 : Assessment Evidence Stage 3

... A.  Four-­‐voice  realization  of  figured-­‐bass  symbols  and  Roman  numerals   B.  Composition  of  a  bass  line  (with  chord  symbols)  for  a  given  melody   IV.  Score  Analysis  (with  or  without  aural  stimulus)   A.  Small- ...
Traditional composition techniques
Traditional composition techniques

... inversion mirrored contour; e.g., subject and inversion in Bartok's Music for Strings, Percussion and Celeste, first movement isomelos same notes, different rhythm; used constantly in dodecaphony microtones intervals smaller than a semitone non-tonal scales scale structures that are symmetric in con ...
standard music notation practice
standard music notation practice

... Unlike the printed word for which many “style books” exist, music notation practices have traditionally been transmitted by word of mouth and trial and error. To bring order into a situation complicated by the introduction of many fast new processes for note-setting, this study was prepared by the ...
musical texture
musical texture

... The word “mono” means one or single.Therefore we hear monophonic texture when a person sings alone without accompaniment or background music. So we can say that monophonic texture is heard when a single melodic line is performed without accompaniment. That single melody could be played or sung by on ...
Chapter 10 Harmonic Progression
Chapter 10 Harmonic Progression

... the tonic or in a longer chord series ...
Document
Document

... Indicates how many beats there are in a bar, and what type of beat they are. ...
You Can Get It If You Really Want (p
You Can Get It If You Really Want (p

... Song is in Db major throughout (but see Instrumental below) Relies almost exclusively on primary chords I IV & V(7) except for:o 9th bar of the Verses, e.g. b.22 – chord iii (Fm) o E major chord in the Instrumental (bs.37 and 41) o Chord sequence in bars 39 and 43 which end each 4-bar phrase with ha ...
View printable PDF of 6.7 Contemporary Chords and Harmonic
View printable PDF of 6.7 Contemporary Chords and Harmonic

... Tone cluster with 2 notes raised an octave ...
AUGMENTED SIXTH CHORDS Definition
AUGMENTED SIXTH CHORDS Definition

... fifth to show the resolution of the pitches in the direction of the inflection (see partwriting below). A6 chords are most often built on the note a half step above the dominant (b6) of the scale in both major and minor keys (as the above examples in the key of C). A6 chords may also be built on the ...
12 the lamb 2015 - My Music Classroom
12 the lamb 2015 - My Music Classroom

... Understanding the text Poetic structure: There are five couplets (pairs of lines) in each stanza. • Couplet 1 has two similar six-syllable lines. • 5 has the same line twice. • 2, 3 and 4 are rhyming couplets with seven-syllable lines. ...
Doc 2
Doc 2

... (octave) or more) or “small” (less than an octave) Phrase: a complete musical idea with a beginning and end. Usually between 4-8 measures. Texture: how the different melodies are put together. Can be described as “thick” (lots of notes on top of each other) or “thin” (unison (all doing the same thin ...
Theory Intro
Theory Intro

... How do minor and major differ? Ê How do minor scales differ from their “parallel” major? Ê Both scales begin on same note, differ at 3, 6, and 7 (these ...
Music Vocabulary Terms
Music Vocabulary Terms

... Unmetered: When there is no steady tempo or pulse Pick Up Note or Anacrusis: Notes that occur before beat one. Compound Meter: The beat has a triple subdivision Mixed Meter: Measures of different meters occur in rapid succession. Irregular Meter: Measures of different meters that occur randomly Poly ...
Chapter 1 summary
Chapter 1 summary

... note is the nota cambiata. The surrounding first and third notes are always consonant with the lowest voice. The second and fourth notes may or may not be dissonant. 13. Suspensions (3-voice): 9-8 (2-1), 4-3, plus the 7-6 and 2-3. 14. The 4th may be “consonant” in 3-part writing when a second invers ...
Block Class Revision 2015 Set A
Block Class Revision 2015 Set A

... 1st Verse – B528 ...
Vocal Music Intermediate Baseline Assessment Section One
Vocal Music Intermediate Baseline Assessment Section One

... 4. A __________ sign indicates that a musical section should be repeated. a. fermata b. repeat c. slur 5. _____is a symbol that cancels a previous sharp or flat. a. Accent b. Natural c. Flat 6. The upper part of the trachea in the human throat, also called 'voice box', 'glottis', 'vocal apparatus', ...
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Schenkerian analysis

Schenkerian analysis is a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The goal of a Schenkerian analysis is to interpret the underlying structure of a tonal work and to help reading the score according to that structure. The theory's basic tenets can be viewed as a way of defining tonality in music. A Schenkerian analysis of a passage of music shows hierarchical relationships among its pitches, and draws conclusions about the structure of the passage from this hierarchy. The analysis makes use of a specialized symbolic form of musical notation that Schenker devised to demonstrate various techniques of elaboration. The most fundamental concept of Schenker's theory of tonality may be that of tonal space. The intervals between the notes of the tonic triad form a tonal space that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.Although Schenker himself usually presents his analyses in the generative direction, starting from the fundamental structure (Ursatz) to reach the score, the practice of Schenkerian analysis more often is reductive, starting from the score and showing how it can be reduced to its fundamental structure. The graph of the Ursatz is arrhythmic, as is a strict-counterpoint cantus firmus exercise. Even at intermediate levels of the reduction, rhythmic notation (open and closed noteheads, beams and flags) shows not rhythm but the hierarchical relationships between the pitch-events.Schenkerian analysis is subjective. There is no mechanical procedure involved and the analysis reflects the musical intuitions of the analyst. The analysis represents a way of hearing (and reading) a piece of music.
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