File - Paul Sarasien
... rules of the exposition of a sonata. The primary theme is not very long and stays in the same key, ending in a cadence. The transition changes to the secondary key, and the secondary theme closes in a perfect authentic cadence in the secondary key. It is slightly odd that the secondary key goes bet ...
... rules of the exposition of a sonata. The primary theme is not very long and stays in the same key, ending in a cadence. The transition changes to the secondary key, and the secondary theme closes in a perfect authentic cadence in the secondary key. It is slightly odd that the secondary key goes bet ...
General Principles of Harmony by Alan Belkin
... human brain's highly evolved capacities for making sense of auditory experience have surely not changed over the past few centuries. Another, related method, consists of intensive drill with harmonic formulas. Based on the notion that harmony, like language, uses many idioms, the goal here is to lea ...
... human brain's highly evolved capacities for making sense of auditory experience have surely not changed over the past few centuries. Another, related method, consists of intensive drill with harmonic formulas. Based on the notion that harmony, like language, uses many idioms, the goal here is to lea ...
A Mathematical and Musical Analogy in Microtonal Systems
... We number these pitches as 0, 1, 2, 3, ..., 11 in order to model the 12-tone system and as a means of organizing pitch relationships. “The basic principle of the keyboard is that any key that is twelve half steps [the interval between any two adjacent keys] above another key produces a pitch whose f ...
... We number these pitches as 0, 1, 2, 3, ..., 11 in order to model the 12-tone system and as a means of organizing pitch relationships. “The basic principle of the keyboard is that any key that is twelve half steps [the interval between any two adjacent keys] above another key produces a pitch whose f ...
Middle School WorkBook
... length is typically equal to four beats in 4/4 time. Whole rest is When an entire measure is devoid of notes, a semibreve (whole) rest is used, regardless of the actual time signature 13. Half note and rest – is a note played for half the duration of a whole note (or semibreve) and twice the duratio ...
... length is typically equal to four beats in 4/4 time. Whole rest is When an entire measure is devoid of notes, a semibreve (whole) rest is used, regardless of the actual time signature 13. Half note and rest – is a note played for half the duration of a whole note (or semibreve) and twice the duratio ...
Music Theory Review Guide - Guitar
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
Alois Hába`s Suite für vier Posaunen
... paying particular attention to tone centrality and tonic analogues. Example 3.5 shows the opening two measures of the first movement with each trombone part appearing on its own staff. Each part, then, represents an individual voice, which I refer to as the soprano, alto, tenor, and bass.9 The harmo ...
... paying particular attention to tone centrality and tonic analogues. Example 3.5 shows the opening two measures of the first movement with each trombone part appearing on its own staff. Each part, then, represents an individual voice, which I refer to as the soprano, alto, tenor, and bass.9 The harmo ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... A motive can consist of a pitch pattern, a rhythmic pattern, or both Rhythm motives are easier to identify than pitch motives Best to use motive to refer only to those musical ideas that are “developed” A phrase is a relatively independent musical idea terminated by a cadence A sub-phrase ...
... A motive can consist of a pitch pattern, a rhythmic pattern, or both Rhythm motives are easier to identify than pitch motives Best to use motive to refer only to those musical ideas that are “developed” A phrase is a relatively independent musical idea terminated by a cadence A sub-phrase ...
Test Review - The OCD Musician
... a poor harmonic progression a doubled leading tone parallel octaves crossed voices ...
... a poor harmonic progression a doubled leading tone parallel octaves crossed voices ...
Principles of Counterpoint
... migrates between various parts there is always a focus. In its broadest meaning, we will use the word "line" to refer to the main path followed by the listener’s attention through a musical work over time. If the composer does his work well, this path will be intriguing, coherent, and convincing fro ...
... migrates between various parts there is always a focus. In its broadest meaning, we will use the word "line" to refer to the main path followed by the listener’s attention through a musical work over time. If the composer does his work well, this path will be intriguing, coherent, and convincing fro ...
The Geometry of Musical Chords Eric Thul Dr. Godfried Toussaint COMP644
... in each voice and between each voice [11, p.85]. In other words, when we go from chord to chord, the notes in the bass voice must be carefully chosen and the same goes for the other voices. But not only are the transitions considered, but also the harmonies that each chords forms are considered. I ...
... in each voice and between each voice [11, p.85]. In other words, when we go from chord to chord, the notes in the bass voice must be carefully chosen and the same goes for the other voices. But not only are the transitions considered, but also the harmonies that each chords forms are considered. I ...
Cyclic Organization in the `Chorale` of Charles Ives` Three Quarter
... in the quarter-tone system the fifth and the octave are still intervals that assert their authority, being "unrelenting masters in the realm of the physical nature of sound." (112). For this reason he prefers chords that still have pure fifths, rather than fifths either a quarter sharp or a quarter ...
... in the quarter-tone system the fifth and the octave are still intervals that assert their authority, being "unrelenting masters in the realm of the physical nature of sound." (112). For this reason he prefers chords that still have pure fifths, rather than fifths either a quarter sharp or a quarter ...
Daniel Liles
... edited, and published. The pieces are broken up into two groups according to their key areas, A major/minor and G major/minor. In all fifteen pieces, devices such as stile brisé (broken chord) taken from 17th century French lutenists, melodic lines stylized with specific codes of ornamentation, and ...
... edited, and published. The pieces are broken up into two groups according to their key areas, A major/minor and G major/minor. In all fifteen pieces, devices such as stile brisé (broken chord) taken from 17th century French lutenists, melodic lines stylized with specific codes of ornamentation, and ...
5th Grade Vocal Music - Sutton Public Schools
... 1. Review treble clef note names 2. Learn A-G note names of bass clef lines and spaces 3. Be able to identify bass clef note names on sight 4. Notes up to 1 ledger line above or below each staff ...
... 1. Review treble clef note names 2. Learn A-G note names of bass clef lines and spaces 3. Be able to identify bass clef note names on sight 4. Notes up to 1 ledger line above or below each staff ...
The Rise of 6 in the Nineteenth Century
... a working model of the major mode Today, a discussion of the major scale’s dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus exists concerning these dynamics: the “active”/“dynamic”/“dependent” degrees progress stepwise to the “stable” ...
... a working model of the major mode Today, a discussion of the major scale’s dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus exists concerning these dynamics: the “active”/“dynamic”/“dependent” degrees progress stepwise to the “stable” ...
Expanded tonality - Scholar Commons
... of chromatic pitches in a sequential setting, thus emphasizing other pitches and further creating harmonic ambiguity through the structural placement of these non-diatonic pitches. The concept of the upper/lower leading tone also appears as a motivic pattern and generates different types of harmonic ...
... of chromatic pitches in a sequential setting, thus emphasizing other pitches and further creating harmonic ambiguity through the structural placement of these non-diatonic pitches. The concept of the upper/lower leading tone also appears as a motivic pattern and generates different types of harmonic ...
Hierarchical perception of melody
... Experiment 1 showed a strong effect of time span level on detection rate in the tonal melody, but an effect of position could also be observed in the atonal melody. To further assess whether the results in fact indicate an effect due to hierarchical levels in the mental representation, the same meth ...
... Experiment 1 showed a strong effect of time span level on detection rate in the tonal melody, but an effect of position could also be observed in the atonal melody. To further assess whether the results in fact indicate an effect due to hierarchical levels in the mental representation, the same meth ...
Troubles with Tonal Terminology
... Other serious conceptual problems were with polyphony and counterpoint (Tagg 2009a: 81‐82, 86‐89). ...
... Other serious conceptual problems were with polyphony and counterpoint (Tagg 2009a: 81‐82, 86‐89). ...
to read it in Microsoft Word
... Comping is a type of improvising. I comp using the same notes I solo with. More specifically, I use 2, 3 and 4-note clusters derived from the scales and arpeggios as outlined above. For example, when the lead sheet says the chord to be played is Cmaj7 in the key of C, I comp using a 2, 3, or 4-note ...
... Comping is a type of improvising. I comp using the same notes I solo with. More specifically, I use 2, 3 and 4-note clusters derived from the scales and arpeggios as outlined above. For example, when the lead sheet says the chord to be played is Cmaj7 in the key of C, I comp using a 2, 3, or 4-note ...
Notation of Pitch - Kendall/Hunt Higher Education
... markings and are used to raise or lower a written pitch by one octave (8va/8vb) or two octaves (15ma/15mb). 8va, called ottava alta (from Italian), raises a note by one octave and is written directly above the note head it affects. To remember its meaning, think of the “a” in 8va as meaning “above.” ...
... markings and are used to raise or lower a written pitch by one octave (8va/8vb) or two octaves (15ma/15mb). 8va, called ottava alta (from Italian), raises a note by one octave and is written directly above the note head it affects. To remember its meaning, think of the “a” in 8va as meaning “above.” ...
6 Schoenberg`s `second melody`, or, `Meyer
... seen as driven by, or supportive of, those in the upper parts. All too often, important melodic details of the bass are not represented in a Schenkerian graph, except perhaps at the most foreground levels, and Schenker’s general characterization of that voice as the Bassbrechung, the ‘bass-arpeggiat ...
... seen as driven by, or supportive of, those in the upper parts. All too often, important melodic details of the bass are not represented in a Schenkerian graph, except perhaps at the most foreground levels, and Schenker’s general characterization of that voice as the Bassbrechung, the ‘bass-arpeggiat ...
NOTE - Big Lake Schools
... • The STAFF is a place where musical notes are written. • It is composted of FIVE lines and FOUR spaces. • Lower-pitched notes are written LOWER on the staff. o Higher-pitched notes are written HIGHER. • Sometimes notes are so high or so low they need to be written with LEDGER lines. • Ledger lines ...
... • The STAFF is a place where musical notes are written. • It is composted of FIVE lines and FOUR spaces. • Lower-pitched notes are written LOWER on the staff. o Higher-pitched notes are written HIGHER. • Sometimes notes are so high or so low they need to be written with LEDGER lines. • Ledger lines ...
Chapter 3 Piccola musica notturna (1954)
... flavoring of the C triad in m.6, the unresolved Ab in mm.7 and 9, and the (from a tonal point of view) arbitrary voice leading in m.12, mm.1-14 demonstrate a remarkable tonal cogency for a serially organized work. The progression mm.13-14 in particular assimilates the entire passage to G major. The ...
... flavoring of the C triad in m.6, the unresolved Ab in mm.7 and 9, and the (from a tonal point of view) arbitrary voice leading in m.12, mm.1-14 demonstrate a remarkable tonal cogency for a serially organized work. The progression mm.13-14 in particular assimilates the entire passage to G major. The ...
Disciplining Knowledge in Music Theory
... an implied harmonic texture. In effect, his adaptations furthered the abstractions initiated by Fux by generalizing voice-leading principles for contrapuntal and thoroughbass practice, the latter incorporating a much freer treatment of dissonance than the former. The extended abstractions became nec ...
... an implied harmonic texture. In effect, his adaptations furthered the abstractions initiated by Fux by generalizing voice-leading principles for contrapuntal and thoroughbass practice, the latter incorporating a much freer treatment of dissonance than the former. The extended abstractions became nec ...