Geometry of Harmony and Modes in Vaughan Williams` Romanza
... B[ , and passing through the center point of the hexagon D. The transposition B[ −−→ A can also be viewed as a reflection through a mirror. This is indicated on the right of Figure 1 by a mirror line drawn through the vertices for the major chords D and F (and continuing through the other major chor ...
... B[ , and passing through the center point of the hexagon D. The transposition B[ −−→ A can also be viewed as a reflection through a mirror. This is indicated on the right of Figure 1 by a mirror line drawn through the vertices for the major chords D and F (and continuing through the other major chor ...
Complete Appendices
... Pulse The steady beat in music. Quadruple meter The recurring pattern of beats: a strong beat followed by three weak beats. Music written in 4/4 or 12/8 are examples of quadruple meter. Relative key A major and minor scale that share the same key signature but not the same tonic note; for example, C ...
... Pulse The steady beat in music. Quadruple meter The recurring pattern of beats: a strong beat followed by three weak beats. Music written in 4/4 or 12/8 are examples of quadruple meter. Relative key A major and minor scale that share the same key signature but not the same tonic note; for example, C ...
AP® Music Theory 2012 Scoring Guidelines
... C. Award only 1 point for voice leading between two correctly realized chords (as defined in II.A.) that features exactly one of the following errors: 1. Uncharacteristic rising unequal fifths. (See DCVLE, no. 4.) 2. Uncharacteristic hidden (covered) or direct octaves or fifths between outer voices. ...
... C. Award only 1 point for voice leading between two correctly realized chords (as defined in II.A.) that features exactly one of the following errors: 1. Uncharacteristic rising unequal fifths. (See DCVLE, no. 4.) 2. Uncharacteristic hidden (covered) or direct octaves or fifths between outer voices. ...
"Three Beats for Beatbox Flute" by Greg Patillo In 2011, the National
... Between the first and second tone, the change in fingering creates a different pitch as indicated by arrow B. The second long note is written in the score as an A5 on the flute, which agrees with the spectrogram, and F4 sung, which does not agree with the spectrogram. These two notes create the harm ...
... Between the first and second tone, the change in fingering creates a different pitch as indicated by arrow B. The second long note is written in the score as an A5 on the flute, which agrees with the spectrogram, and F4 sung, which does not agree with the spectrogram. These two notes create the harm ...
Predicting the root of a musical chord
... The first bar shows the third inversion of the C-major-dominant-seventh-chord with a tritone between {Bb3} and {E4} and a perfect fourth between {G4} and {C4}. In close layer (in the second bar) appears a major second between {Bb3} and {C4} – this is reason for it is called a second chord. Finally i ...
... The first bar shows the third inversion of the C-major-dominant-seventh-chord with a tritone between {Bb3} and {E4} and a perfect fourth between {G4} and {C4}. In close layer (in the second bar) appears a major second between {Bb3} and {C4} – this is reason for it is called a second chord. Finally i ...
Playing Musical Tiles - SJU
... example. If a sequence of chords is played by several voices, each sounding a single note, we can track the motion of individual voices in the progression from one chord to the next. This association is called voice leading. Although the conventions of voice leading have changed through the ages, so ...
... example. If a sequence of chords is played by several voices, each sounding a single note, we can track the motion of individual voices in the progression from one chord to the next. This association is called voice leading. Although the conventions of voice leading have changed through the ages, so ...
Shifted Downbeats in Classic and Romantic
... piece. Considering both the scope of the section and the lack of a threebeat pulse, this passage produces a feeling of metrical change that is left unspecified by the notation. The phrases notated as four measures of triple time are heard as-or at least can be heard as-six measures of duple time. Th ...
... piece. Considering both the scope of the section and the lack of a threebeat pulse, this passage produces a feeling of metrical change that is left unspecified by the notation. The phrases notated as four measures of triple time are heard as-or at least can be heard as-six measures of duple time. Th ...
Establishing the Elements of Music Groundwork
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
Establishing the Elements of Music Groundwork
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
Guerilla Ear Training
... ***Focus on the sound of each Note*** When I play a note, you SING which of the 3 it is - (Come on, only 3 options!!) ...
... ***Focus on the sound of each Note*** When I play a note, you SING which of the 3 it is - (Come on, only 3 options!!) ...
Kievan notation
... Since the middle line of the staff is where “DO” is, all we have to do is find a treble clef scale which uses the same note positions. In this case it is the key of B-flat, which has two flats in the key signature. We still need to use the extra flat on the upper “A” pitch (the same note as the orig ...
... Since the middle line of the staff is where “DO” is, all we have to do is find a treble clef scale which uses the same note positions. In this case it is the key of B-flat, which has two flats in the key signature. We still need to use the extra flat on the upper “A” pitch (the same note as the orig ...
Brief background The tonal hierarchy The first probe tone study
... focal substantive tones on another level and vice versa in the major mode the tonic tone is the tone of ultimate rest toward which all other ones tend to move. On the next higher level the third and fifth of the scale active melodic tones relative to the tonic, join the tonic as structural t ...
... focal substantive tones on another level and vice versa in the major mode the tonic tone is the tone of ultimate rest toward which all other ones tend to move. On the next higher level the third and fifth of the scale active melodic tones relative to the tonic, join the tonic as structural t ...
Dhrupad - Dagarvani.org
... attributed to the legendary Tan Sen, royal court musician of the Mughal emperor Akbar (1542-1605). Dhrupad was the dominant form of classical vocal music in North India until the eighteen century when khayal (thought, imagination), a lighter, faster and more florid form gained wider acceptance. A dh ...
... attributed to the legendary Tan Sen, royal court musician of the Mughal emperor Akbar (1542-1605). Dhrupad was the dominant form of classical vocal music in North India until the eighteen century when khayal (thought, imagination), a lighter, faster and more florid form gained wider acceptance. A dh ...
Carl Nielsen Studies V - Svend Hvidtfelt Nielsen
... Chords which over a regular cadence have ‘equally long way home’ are placed in the same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the s ...
... Chords which over a regular cadence have ‘equally long way home’ are placed in the same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the s ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... Chords which over a regular cadence have ‘equally long way home’ are placed in the same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the s ...
... Chords which over a regular cadence have ‘equally long way home’ are placed in the same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the s ...
Minor Thirds
... minor third, but this is called a major chord. Combining lati-do (a minor third) and do-re-mi (a major third) gives the ...
... minor third, but this is called a major chord. Combining lati-do (a minor third) and do-re-mi (a major third) gives the ...
Word Format - Years 11 and 12 - School Curriculum and Standards
... add minor pentatonic scale add major and minor 6ths 2–4 bar melodic dictations, treble and bass clef, given the first note and some rhythm and pitch pitch discrepancies: identify and correct 1–2 pitch errors in a short excerpt Chords simple chord progressions in C, F and G major, root posi ...
... add minor pentatonic scale add major and minor 6ths 2–4 bar melodic dictations, treble and bass clef, given the first note and some rhythm and pitch pitch discrepancies: identify and correct 1–2 pitch errors in a short excerpt Chords simple chord progressions in C, F and G major, root posi ...
Non-Harmonic Tones Harmonic Tones
... Have you ever looked at music and wondered why there may be notes which don’t appear to belong to a chord? Notes that are not part of a chord are called Non-Harmonic Tones and are usually found melodically between two harmonic tones (notes that belong to a chord). Most may appear on the beat or in b ...
... Have you ever looked at music and wondered why there may be notes which don’t appear to belong to a chord? Notes that are not part of a chord are called Non-Harmonic Tones and are usually found melodically between two harmonic tones (notes that belong to a chord). Most may appear on the beat or in b ...
Glossary of Common Musical Terms and Concepts
... chord - a group of pitches sounded together creating harmony arpeggio - a chord played one note at a time triad - a chord using 1, 3, 5 of a scale root - the 1st note of a triad or chord inversion chord - a chord where the root is not the lowest note major triad - a chord using 1, 3, 5 of a major sc ...
... chord - a group of pitches sounded together creating harmony arpeggio - a chord played one note at a time triad - a chord using 1, 3, 5 of a scale root - the 1st note of a triad or chord inversion chord - a chord where the root is not the lowest note major triad - a chord using 1, 3, 5 of a major sc ...
Ki ho`alu Guitar Tunings Guitar Tunings
... positions on the neck, and an overview of slack key tuning classifications. Section 2 – Tunings - This is the chord chart section of the manual, which also includes some background information about each tuning, a selection of the common first position chords, and “open and closed” position diagrams ...
... positions on the neck, and an overview of slack key tuning classifications. Section 2 – Tunings - This is the chord chart section of the manual, which also includes some background information about each tuning, a selection of the common first position chords, and “open and closed” position diagrams ...
Grade 9 Instrumental Music Theory Workbook
... Grade 9 Theory Activity 9 – Semitones and the Chromatic Scale * I am responsible for knowing the chromatic scale A chromatic scale contains every possible note between two notes an octave apart. There are 12 different notes in a chromatic scale, each one a semitone away from the next. A chromatic s ...
... Grade 9 Theory Activity 9 – Semitones and the Chromatic Scale * I am responsible for knowing the chromatic scale A chromatic scale contains every possible note between two notes an octave apart. There are 12 different notes in a chromatic scale, each one a semitone away from the next. A chromatic s ...
Jefferson College Course Syllabus MSC101 Fundamentals of Music
... COURSE OUTLINE (course content will be drawn from this) A. ...
... COURSE OUTLINE (course content will be drawn from this) A. ...
Scale Degrees - Co
... forms of the minor scales but that will be a different lesson. Just note that the 7 degree scale name in minor scales is Subtonic. The Roman Numerals Scales Degrees are also described using Roman Numerals. While they do range from 1-7, the Roman Numerals serve another purpose. Nathan described in h ...
... forms of the minor scales but that will be a different lesson. Just note that the 7 degree scale name in minor scales is Subtonic. The Roman Numerals Scales Degrees are also described using Roman Numerals. While they do range from 1-7, the Roman Numerals serve another purpose. Nathan described in h ...
Tonal Function in Harmonic Scales
... When two notes are played in succession, and their frequency is identical, they are heard to have the same pitch. If there is a very small frequency-difference between the two notes, they will still be heard as identical;2 as the frequency-difference increases the listener will begin to hear the sec ...
... When two notes are played in succession, and their frequency is identical, they are heard to have the same pitch. If there is a very small frequency-difference between the two notes, they will still be heard as identical;2 as the frequency-difference increases the listener will begin to hear the sec ...
Mazzola on Music Theory
... Schenkerian viewpoint whereby music exists in some Platonic realm of ideas apart from its performance. Performance her defines as "Expressive interpretation based on an understanding of the text." Mazzola then launched into a description of a musical score as a kind of manifold with overlapping neig ...
... Schenkerian viewpoint whereby music exists in some Platonic realm of ideas apart from its performance. Performance her defines as "Expressive interpretation based on an understanding of the text." Mazzola then launched into a description of a musical score as a kind of manifold with overlapping neig ...