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File - Music with Mrs. Fash
File - Music with Mrs. Fash

... 4.a - Improvise rhythmic patterns using a variety of sound sources and answers to given rhythmic questions. 4.b - Improvise simple pentatonic and diatonic melodies and accompaniments. 4.c - Improvise simple rhythmic and/or melodic variations. M5GM.5 – Composing and arranging music within specified g ...
File - Bill Troxler
File - Bill Troxler

... In theory there is no limit to the number of pitch divisions that can be applied to an octave. The number of divisions used in Western music ranges from five to twelve. Experimental work is being done with as many as 31 divisions. Indian classical music divides the octave into 22 divisions. Western ...
Non-Chord Tones
Non-Chord Tones

... by step in the same direction. • Neighboring tone (n)- Approached by step and left by step in the opposite direction. • Suspension (s)- Approached by same tone and left by a step down. • Retardation (r)- Approached by the same tone and left by a step up. ...
PDF text - Music Theory Online
PDF text - Music Theory Online

... the interval between two moving voices either expands or shrinks by a whole step, as those two voices shift by one semitone each. Because three of the four voices move by semitone in the P 3,0 transformation, there must be one pair of adjacent voices that undergoes a whole step expansion or shrinkag ...
File - Harris Ac Music
File - Harris Ac Music

... A scale is simply the structure in which we organise notes. The specific type of scale is determined by the interval relationships (or distance) between the individual notes. The slightest adjustment of a note can change a happy sounding scale into a sad one. For example, a happy sounding major scal ...
Unit 10. Music theory
Unit 10. Music theory

... conduct to. First find the beat that seems the strongest, then try tapping along to it. Eventually you should be able to tap along with the music, and you will have found the pulse. Listen to the bass line and the rhythm section, as often they play with the pulse. ...
A Comparison between Genetic and Memetic Algorithm
A Comparison between Genetic and Memetic Algorithm

... Regarding the quality of an interval, there are various types depending on how well those two notes go together. The biggest categories are “perfect interval” and “non-perfect interval”. The perfect intervals are unison, fourth, fifth, and octave. When a perfect interval is lowered by a semitone, it ...
Dissonance and Resolution
Dissonance and Resolution

... I found that the major third interval actually had three partials that were within the critical bandwidth of the C note. The perfect fourth, on the other hand, was perfectly consonant. I concluded this must be the reason mathematically why people always preferred fourths to thirds. The fourth is pe ...
A major triad (C or CM) uses the first (root), 3rd, and 5th of a major
A major triad (C or CM) uses the first (root), 3rd, and 5th of a major

... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
A - The sixth note of the diatonic major scale of C
A - The sixth note of the diatonic major scale of C

... Instrument - Any device that produces a musical sound. Instrumentation - The art of composing, orchestrating, or arranging for an instrumental ensemble. Interval - The difference in pitch between two tones. Inversion - As applied to music the term may be used in both melody and harmony. Melodic inve ...
Picture - Gryffe Music
Picture - Gryffe Music

... All music falls into one of 3 categories MONOPHONIC ...
Night in Tunisia thoughts,
Night in Tunisia thoughts,

... find it more useful to associate a half/whole dim scale with a dominant seventh chord, and consider the whole half as just a mode of the diminshed scale (which is symmetrical). There are only three unique dim scales for you to learn. (so no excuses). C7, Eb7, F#7, and A7 all share the same dim scale ...
Bi-tonal Quartal Harmony
Bi-tonal Quartal Harmony

... sonorities  in  these  two  classes  are  derived  from  different  diatonic  scales.   Melodic  principles  basic  to  diatonic  harmony,  such  as  the  resolution  of  a   leading  tone  (scale  degree  7  –  1),  and  the  intervall ...
AP Theory Syllabus - Pequannock Township High School
AP Theory Syllabus - Pequannock Township High School

... f. Harmonize a melody with appropriate chords using good voice leading. g. Analyze the chords of a musical composition by number and letter name. h. Transpose a composition from one key to another. i. Express musical ideas by composing and arranging. j. Understand and recognize basic musical forms: ...
In the Style of: George Benson Blues!
In the Style of: George Benson Blues!

... a look to see why this might work... In example A the lick begins with a chromatic approach to Bb (chord root). The triplet outlines the basic Bb major triad and continues to outline the entire Bb7 chord in the next two highlighted notes (7th and root). Finally the lick ends with chord 7th (Ab) and ...
Ben Johnston Pantonality Generalized
Ben Johnston Pantonality Generalized

... Debussy’s choice of pitches evokes the traditional enharmonic diesis by changing spelling between chords from G# to Ab, which may be interpreted to suggest a microtonal difference. ...
1 - State Examination Commission
1 - State Examination Commission

... Melody has style and imagination with an excellent awareness of underlying harmonic structure and development of opening ideas. Very good sense of climax. Good sense of shape and structure. Musical, with a good awareness of harmonic structure and good point(s) of climax. Opening ideas well developed ...
Neo-Riemannian Theory and the Analysis of Pop
Neo-Riemannian Theory and the Analysis of Pop

... Mode, which contains the triads  D-, F-, D +, B+ .12 This progression lends itself to numerous diatonic interpretations, four of which are provided in Examples 2(b) through 2(e). Example 2(b) assumes a single key for the progression, D minor. As in much pop-rock music, repetition and metric stre ...
Music Theory Unplugged Functional Harmony
Music Theory Unplugged Functional Harmony

... leading tone resolution there is still a strong resolution tendency. To conclude although we have built another type of chord on the seventh degree it is quite acceptable to use these types of chords in contemporary music practice. There are other non-diatonic chords commonly used in contemporary mu ...
Music Terms and Symbols Music Terms and Symbols
Music Terms and Symbols Music Terms and Symbols

... many notes. If no key signature appears, the key is assumed to be C major/A minor, but can also signify a neutral key, employing individual accidentals as required for each note. The key signature examples shown here are described as they would appear on a treble staff. Flat key signature Lowers by ...
playing giant steps with one scale
playing giant steps with one scale

... | GM Bb7 | EbM ...
Complex Chords Table of Content
Complex Chords Table of Content

... Four note chords are build the same way as triads, but they contain one more (major or minor) third, and therefore there are twice as much possible combinations as for triads. Not all these possible combinations are really useful in practice; in fact, some chords that do not consist exclusively of i ...
urn_nbn_fi_jyu-20
urn_nbn_fi_jyu-20

... emerge as a result of real planing (parallel voice-leading with fixed intervals), use of non-scale pcs or sonorities and various types of modulation and mixture (Williams 1997: 186-189): modulation to the same scale type (with change of pc collection and modal center), modulation to a relative mode ...
FUNDAMENTAL HARMONY Chromatically
FUNDAMENTAL HARMONY Chromatically

... The augmented 6th (A$-F#) sounds like a minor 7th (A$- G$), which is a much more common description, but we still call it an augmented 6th: ...
Vocal Solos and Ensembles
Vocal Solos and Ensembles

... Moderate Tessitura – most of the motes lie within the area of a perfect fifth and in the center of the vocal range. ...
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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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