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Slides - UMD Physics
... C, C#/Db, D, D#/Eb, E, E#, Fb, F, F#/Gb, G, G#/Ab, A, A#/Bb, B or do, do#/re b, re, re#/mi b, mi, mi#/fa b, fa, fa#, sol, sol#/la b, la, la#/sib, si ...
... C, C#/Db, D, D#/Eb, E, E#, Fb, F, F#/Gb, G, G#/Ab, A, A#/Bb, B or do, do#/re b, re, re#/mi b, mi, mi#/fa b, fa, fa#, sol, sol#/la b, la, la#/sib, si ...
Compositional trajectories [Medieval music]
... and the Early Christian era, especially Boethius, and additional empirical features of the Gregorian corpus and later medieval chants. Hellenistic notions of scales generated by adjacent and overlapping tetrachords, of mode as scale, and especially of mode as octave species comprised of species of f ...
... and the Early Christian era, especially Boethius, and additional empirical features of the Gregorian corpus and later medieval chants. Hellenistic notions of scales generated by adjacent and overlapping tetrachords, of mode as scale, and especially of mode as octave species comprised of species of f ...
Prime Numbers in Music Tonality
... out of whole ratios and then equally temper the results, but this may defeat the purpose of the whole ratios in the first place. The concept of dissonance has played the fundamental role in shaping the sets of ratios in our musical systems. But given what we know about musical acoustics and what we ...
... out of whole ratios and then equally temper the results, but this may defeat the purpose of the whole ratios in the first place. The concept of dissonance has played the fundamental role in shaping the sets of ratios in our musical systems. But given what we know about musical acoustics and what we ...
Lesson_CCC_-_The_Min..
... In adjusting the diatonic minor scale by incorporating the leading tone from the major scale, we have the same V and vii° triads in minor as we do in the parallel major. The leading-tone adjustment not only strengthens the sense of tonality when we are in a minor key, but also allows for modulation ...
... In adjusting the diatonic minor scale by incorporating the leading tone from the major scale, we have the same V and vii° triads in minor as we do in the parallel major. The leading-tone adjustment not only strengthens the sense of tonality when we are in a minor key, but also allows for modulation ...
WAYS TO REMEMBER MUSIC THEORY
... of C major, D minor, E minor, F major, G major and A minor. Extending this to 4-note chords we get: C maj7, Dm7, Em7, F maj7, G7, Am7 and Bm7-5 Note that the major 7 chords are often written with a triangle, and the m7-5 (the half-diminished) is often shown as a circle with a diagonal line through i ...
... of C major, D minor, E minor, F major, G major and A minor. Extending this to 4-note chords we get: C maj7, Dm7, Em7, F maj7, G7, Am7 and Bm7-5 Note that the major 7 chords are often written with a triangle, and the m7-5 (the half-diminished) is often shown as a circle with a diagonal line through i ...
Charles M. Atkinson, The Critical Nexus: Tone
... comprehend these authors on their own terms. At the same time, however, glossators and commentators could not help but consider concepts like tonus, tropus, and accentus in the context of that which they knew, the eight church modes. Chapter 3, “The Heritage of the Church,” explores the influence of ...
... comprehend these authors on their own terms. At the same time, however, glossators and commentators could not help but consider concepts like tonus, tropus, and accentus in the context of that which they knew, the eight church modes. Chapter 3, “The Heritage of the Church,” explores the influence of ...
Seeing Music, Hearing Waves - Illuminations
... second, or Hertz (Hz). The notes on a piano keyboard form a chromatic scale. A chromatic scale divides the octave into its semitones. There are twelve semitones, or half steps, to an octave in the chromatic scale. The white keys on a keyboard are A, B, C, D, E, F, and G. The black keys are named rel ...
... second, or Hertz (Hz). The notes on a piano keyboard form a chromatic scale. A chromatic scale divides the octave into its semitones. There are twelve semitones, or half steps, to an octave in the chromatic scale. The white keys on a keyboard are A, B, C, D, E, F, and G. The black keys are named rel ...
Harmonics - Homework References
... Pythagoras discovered that when an octave (not a string’s harmonic) is divided exactly in half, a tri-tone is produced; each octave has six whole tones, but three whole tones make a tri-tone ...
... Pythagoras discovered that when an octave (not a string’s harmonic) is divided exactly in half, a tri-tone is produced; each octave has six whole tones, but three whole tones make a tri-tone ...
Lesson_CCC_-_The_Min..
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the natural minor scale, V would be minor (v) and vii° would be major (VII). Neither v nor VII fulfill the dominan ...
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the natural minor scale, V would be minor (v) and vii° would be major (VII). Neither v nor VII fulfill the dominan ...
Here are some important points about pitch: • Pitch is the “highness
... and distinct because we can recognize it and distinguish it from others. Let’s take a look at how some common scales are constructed. As we saw in our discussion of pitch, two neighboring notes can be either a half-step or a whole-step apart. The series of notes C D E F G A B C makes up a major scal ...
... and distinct because we can recognize it and distinguish it from others. Let’s take a look at how some common scales are constructed. As we saw in our discussion of pitch, two neighboring notes can be either a half-step or a whole-step apart. The series of notes C D E F G A B C makes up a major scal ...
Scales - SmartSite
... A useful tool in understanding the major-minor tonal system is a diagram known as the circle of fifths (next screen). Each segment of the circle is a 5th higher than the pitch to its immediate left: you start at the top with no sharps or flats and proceed clockwise by adding sharps and counterclockw ...
... A useful tool in understanding the major-minor tonal system is a diagram known as the circle of fifths (next screen). Each segment of the circle is a 5th higher than the pitch to its immediate left: you start at the top with no sharps or flats and proceed clockwise by adding sharps and counterclockw ...
Appendix 1 Musical Terms
... Mezzo forte (mf) It. A dynamic marking meaning medium loud. Mezzo piano (mp) It. A dynamic marking meaning medium soft. Minor scale A pattern of seven notes in three different forms: natural (pure), harmonic and melodic. All three forms share the same key signature and the first five notes. Modal mu ...
... Mezzo forte (mf) It. A dynamic marking meaning medium loud. Mezzo piano (mp) It. A dynamic marking meaning medium soft. Minor scale A pattern of seven notes in three different forms: natural (pure), harmonic and melodic. All three forms share the same key signature and the first five notes. Modal mu ...
Tippett - Concerto for Double String Orchestra movement I (Harmony)
... harmony. The most important functions of the chords are subdominant, dominant, and tonic (S, D, T). They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well. ...
... harmony. The most important functions of the chords are subdominant, dominant, and tonic (S, D, T). They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well. ...
Lesson_CCC_-_The_Min..
... To compensate for this shortcoming, the harmonic minor scale raises the seventh scale degree from a subtonic to a leading tone. This lends a stronger dominant function to the chords built on scale degrees 5 and 7 in minor. Likewise, it is often preferable for tonal melodies to be goal-oriented, part ...
... To compensate for this shortcoming, the harmonic minor scale raises the seventh scale degree from a subtonic to a leading tone. This lends a stronger dominant function to the chords built on scale degrees 5 and 7 in minor. Likewise, it is often preferable for tonal melodies to be goal-oriented, part ...
Chords Triads
... The most common type of chord is the triad – three note chords. Each triad is made up of a root (the first note), a third and a fifth. As well as being built on the first degree of a scale, most triads can be built starting on all the degrees of a scale. Each degree of the scale becomes the root for ...
... The most common type of chord is the triad – three note chords. Each triad is made up of a root (the first note), a third and a fifth. As well as being built on the first degree of a scale, most triads can be built starting on all the degrees of a scale. Each degree of the scale becomes the root for ...
11 – Music temperament and pitch
... discussed above. The division within the octave includes the 12 smallest intervals, the so-called half-tones or semitones. Two adjaicent semitones form a tone. In a music work or a music piece (please, do not call it „song“!) not all notes within the octave are used. On a basic music level, only 7 d ...
... discussed above. The division within the octave includes the 12 smallest intervals, the so-called half-tones or semitones. Two adjaicent semitones form a tone. In a music work or a music piece (please, do not call it „song“!) not all notes within the octave are used. On a basic music level, only 7 d ...
Name
... 32. The key signature for G Major and E Minor is: F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A maj ...
... 32. The key signature for G Major and E Minor is: F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A maj ...
`The Minóre Dhrómos [Popular Mode] in the Songs of Vasilis
... Greek musicians accept, use and (above all) understand each other when using this terminology, it is impossible for the Greek Ousák to be the same as the Ottoman Uşşâk, because of the micro-tones. Moreover, the strangest part of this issue is that although Greeks kept the makam names, the names of m ...
... Greek musicians accept, use and (above all) understand each other when using this terminology, it is impossible for the Greek Ousák to be the same as the Ottoman Uşşâk, because of the micro-tones. Moreover, the strangest part of this issue is that although Greeks kept the makam names, the names of m ...
Listening Guide and Listening Challenge material: Medieval - Renaissance
... the set order (structure and content) of church services. Gregorian Chant single melodic line melody (Texture: monophony), sung to Sacred Latin texts freely flowing vocal line generally free of meter and regular accents. Also known as plainchant and plainsong. Modes, Modal scales with varying patter ...
... the set order (structure and content) of church services. Gregorian Chant single melodic line melody (Texture: monophony), sung to Sacred Latin texts freely flowing vocal line generally free of meter and regular accents. Also known as plainchant and plainsong. Modes, Modal scales with varying patter ...
CIS 3000 Intervals Tutorial
... we’re composing within a certain scale (or key) it’s often useful to think of intervals simply in terms of the difference in scale degrees. A good exercise is to try is harmonizing a melody by simply adding the third scale degree above each note, regardless of major or minor. Think about what would ...
... we’re composing within a certain scale (or key) it’s often useful to think of intervals simply in terms of the difference in scale degrees. A good exercise is to try is harmonizing a melody by simply adding the third scale degree above each note, regardless of major or minor. Think about what would ...
Music Theory Vocabulary - Trinity Bend Performing Arts
... A notational system, usually for pop songs or jazz, where only the melody, lyrics, and chord symbols are printed. The players improvise the accompaniment from the chord symbols. In a minor key, the last chord of a piece is played with a raised third, making it a major chord. A progression from a dis ...
... A notational system, usually for pop songs or jazz, where only the melody, lyrics, and chord symbols are printed. The players improvise the accompaniment from the chord symbols. In a minor key, the last chord of a piece is played with a raised third, making it a major chord. A progression from a dis ...
Introduction - Dartmouth Math Home
... to create the “perfect” scale. It is agreed upon that the ratios for an octave and a fifth of 2:1 and 3:2 respectively are the most pleasing. However, these ratios cannot be used to build a complete scale without creating a discrepancy in frequencies of different octaves. This means that either some ...
... to create the “perfect” scale. It is agreed upon that the ratios for an octave and a fifth of 2:1 and 3:2 respectively are the most pleasing. However, these ratios cannot be used to build a complete scale without creating a discrepancy in frequencies of different octaves. This means that either some ...
Mode (music)
![](https://commons.wikimedia.org/wiki/Special:FilePath/Dorian_mode_C.png?width=300)
In the theory of Western music, mode (from Latin modus, ""measure, standard, manner, way, size, limit of quantity, method"") (Powers 2001, Introduction; OED) generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, itself inspired by the theory of ancient Greek music.