MU2201 : Analysing Western Art Music
... structure”) combines an upper-voice Urlinie (“fundamental line”) and a bass Bassbrechung (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the ...
... structure”) combines an upper-voice Urlinie (“fundamental line”) and a bass Bassbrechung (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the ...
Four-Part Harmony
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
presentation
... Harmony usually split into four voices, each with distinct vocal ranges: soprano, alto, tenor, and bass The “leading tone” (ti, or 7) must resolve to 1/do in the soprano ...
... Harmony usually split into four voices, each with distinct vocal ranges: soprano, alto, tenor, and bass The “leading tone” (ti, or 7) must resolve to 1/do in the soprano ...
The 7-4-2 chord in early Italian recitative
... There has been a recent vogue to sprinkle these chords liberally throughout early 17 th-century recitatives, although some continuo players are now restricting their use in music of the very earliest Baroque composers such as Monteverdi. Common continuo notation for this progression is as follows: E ...
... There has been a recent vogue to sprinkle these chords liberally throughout early 17 th-century recitatives, although some continuo players are now restricting their use in music of the very earliest Baroque composers such as Monteverdi. Common continuo notation for this progression is as follows: E ...
Voice leading from IV-V
... is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice leading from IV to V is to use the non-common tone technique, as shown in bar 2. Raise the bass (we're stil ...
... is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and should be avoided when writing homophonic and homorhythmic music. One correct way of voice leading from IV to V is to use the non-common tone technique, as shown in bar 2. Raise the bass (we're stil ...
Power Point presentation: basics of music
... – Riff = motive with a distinct rhythm that repeats throughout piece ...
... – Riff = motive with a distinct rhythm that repeats throughout piece ...
the schenkerian analysis in the modern context of the
... insights. Thus, it is important for analysts to try out multiple readings of a piece, and work on incorporating the richness provided by each into a sort of meta-reading of the surface. Functions can be any aspect of a Schenkerian graph including the “effect of being passing”, or more simple functio ...
... insights. Thus, it is important for analysts to try out multiple readings of a piece, and work on incorporating the richness provided by each into a sort of meta-reading of the surface. Functions can be any aspect of a Schenkerian graph including the “effect of being passing”, or more simple functio ...
Document
... Melodic leaps of an A2 or A4 should be avoided Consecutive P1, P4,P5, or P8 are forbidden 3. Write the alto and tenor for the second chord in each case without change in structure. ...
... Melodic leaps of an A2 or A4 should be avoided Consecutive P1, P4,P5, or P8 are forbidden 3. Write the alto and tenor for the second chord in each case without change in structure. ...
Defintions - WordPress.com
... Form- organizton of musical ideas in time FanfareHalf Note- quick note Harmony- how chords are constructed and follew Home Key- both the beginning and end note of a piece Homophonic- main melody is accompanied by chords Indefinite PitchIdiomaticKey Signature- sharp or flat signs following the clef L ...
... Form- organizton of musical ideas in time FanfareHalf Note- quick note Harmony- how chords are constructed and follew Home Key- both the beginning and end note of a piece Homophonic- main melody is accompanied by chords Indefinite PitchIdiomaticKey Signature- sharp or flat signs following the clef L ...
Document
... chord – two or more notes sounded at the same time dominant – the fifth note of a scale (“SOL”) harmony – two or more notes played or sung at the same time leading tone – the seventh note of a scale (“TI”) octave – the 8th note above or below a given pitch; it is the same letter of the music alphabe ...
... chord – two or more notes sounded at the same time dominant – the fifth note of a scale (“SOL”) harmony – two or more notes played or sung at the same time leading tone – the seventh note of a scale (“TI”) octave – the 8th note above or below a given pitch; it is the same letter of the music alphabe ...
lhs music theory final exam review sheet
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
Baroque-Era Algorithmic Composition Kevin Deisz 1st Step – Keys
... Can also be resolved in the modulated key, i.e. V/IV → ii Allows the map to change based off of the current progression within the piece ...
... Can also be resolved in the modulated key, i.e. V/IV → ii Allows the map to change based off of the current progression within the piece ...
Inversions
... useful rule applying to all intervals (that is those of one octave or less). The number of any interval and the number of its inversion always add up to nine. Thus a fifth (number 5) and its inverse or complement, a fourth (number is 4) add up to 9. Do not forget that chord quality is still a factor ...
... useful rule applying to all intervals (that is those of one octave or less). The number of any interval and the number of its inversion always add up to nine. Thus a fifth (number 5) and its inverse or complement, a fourth (number is 4) add up to 9. Do not forget that chord quality is still a factor ...
• Melody = a succession of pitches at specific durations that begins
... a 'piece' = a musical composition which is played on instruments. ...
... a 'piece' = a musical composition which is played on instruments. ...
dynamics rhythm pitch articulation texture tempo
... How many layers of sound you can hear Speed Sections of a piece (intro, chorus, A, B etc.) Tune – the main part (does is ascend/descend etc.) What instruments and voices are used (TIMBRE) Major key (happy) or Minor key (sad/serious) Accompaniment or backing notes (chords/bass line etc.) ...
... How many layers of sound you can hear Speed Sections of a piece (intro, chorus, A, B etc.) Tune – the main part (does is ascend/descend etc.) What instruments and voices are used (TIMBRE) Major key (happy) or Minor key (sad/serious) Accompaniment or backing notes (chords/bass line etc.) ...
Voice-Leading Guidelines:
... chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at a cadence. Passing: The bass steps up (or down) over the three notes. Therefore, the 6-4 ...
... chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at a cadence. Passing: The bass steps up (or down) over the three notes. Therefore, the 6-4 ...
Music 11, 7/24/06 Fundamental of harmony Melodies are often built
... Melodies are often built around the triad. This means that by looking at a melody, we can easily understand the harmony that it expresses. A harmony will often emerge in melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way ...
... Melodies are often built around the triad. This means that by looking at a melody, we can easily understand the harmony that it expresses. A harmony will often emerge in melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way ...
Twentieth Century New scales New chords (almost any combination
... Firebird‐ 7 beats in the measure (meter), triads with added dissonant tones Petroushka‐ two chord progressions at once, two scales at once (polytonality) Rite of Spring‐ Primitivism No traditional chord progression or construction Large emphasis on rhythm instead of melody or harmony Crude, som ...
... Firebird‐ 7 beats in the measure (meter), triads with added dissonant tones Petroushka‐ two chord progressions at once, two scales at once (polytonality) Rite of Spring‐ Primitivism No traditional chord progression or construction Large emphasis on rhythm instead of melody or harmony Crude, som ...
definitions - St. Joseph`s High School Crossmaglen
... Glissando- a rapid sliding up or down the scale on a musical instrument. Disco- dance music, melodic with a regular bass beat, intended mainly for dancing. Hi Hat Cymbal-2 cymbals and a stand used as part of a drum kit. Harpsichord-a keyboard instrument whose strings are plucked by quills or plectru ...
... Glissando- a rapid sliding up or down the scale on a musical instrument. Disco- dance music, melodic with a regular bass beat, intended mainly for dancing. Hi Hat Cymbal-2 cymbals and a stand used as part of a drum kit. Harpsichord-a keyboard instrument whose strings are plucked by quills or plectru ...
Tonal Harmony Chapter 5 Pinciples of Voice Leading
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
Benward Chapter 6
... creating the feeling of a tonal center by using all the twelve chromatic tones in a prearranged order that does not lay particular emphasis on any one pitch in the composition as a whole. This method of composing is based on a twelvetone row rather than on a scale. Music that avoids the feelings of ...
... creating the feeling of a tonal center by using all the twelve chromatic tones in a prearranged order that does not lay particular emphasis on any one pitch in the composition as a whole. This method of composing is based on a twelvetone row rather than on a scale. Music that avoids the feelings of ...
