![A Field Guide to Chromaticism](http://s1.studyres.com/store/data/007480068_1-070d00cfd85106b9084baab01f21f7ae-300x300.png)
A Field Guide to Chromaticism
... most often a tonally stronger form of the supertonic in minor. The augmented sixth chords — more of them are being nationally characterized with each new edition — are typically of contrapuntal origin, with two or even three tendency tones. Some of the augmented sixth chords lead to whole-tone harmo ...
... most often a tonally stronger form of the supertonic in minor. The augmented sixth chords — more of them are being nationally characterized with each new edition — are typically of contrapuntal origin, with two or even three tendency tones. Some of the augmented sixth chords lead to whole-tone harmo ...
paper - Personal Web Pages
... common to another transposition, the tonic changes to that of the transposition, thereby effecting modulation to a new set. Events continue with tones applied from the new set. Such a texture is analogous to 12th century organum e.g. of Léonin, wherein the tenor comprises a longbreathed chant melod ...
... common to another transposition, the tonic changes to that of the transposition, thereby effecting modulation to a new set. Events continue with tones applied from the new set. Such a texture is analogous to 12th century organum e.g. of Léonin, wherein the tenor comprises a longbreathed chant melod ...
Musical Scales - Rick Bradford Home Page
... were not for the awkward fact that, with r = 12, n = 7, we get another new note in our original octave, a mere 1.0136433 times greater in frequency than our tonic note. We have no need for this embarrassing note, virtually indistinguishable from the tonic. Indeed the whole of the original 12 notes ( ...
... were not for the awkward fact that, with r = 12, n = 7, we get another new note in our original octave, a mere 1.0136433 times greater in frequency than our tonic note. We have no need for this embarrassing note, virtually indistinguishable from the tonic. Indeed the whole of the original 12 notes ( ...
Music 11, 7/10/06 Scales/Intervals We already know half steps and
... We already know half steps and whole steps (semitones and tones). We call these “seconds.” Adjacent pitch names are always called seconds, but because the space between adjacent pitch names can vary, there are different types of second: Major second (M2) = whole step = whole tone Minor second (m2) = ...
... We already know half steps and whole steps (semitones and tones). We call these “seconds.” Adjacent pitch names are always called seconds, but because the space between adjacent pitch names can vary, there are different types of second: Major second (M2) = whole step = whole tone Minor second (m2) = ...
12 Scale- A scale is a series of pitches in ascending order, such as
... Diatonic scale- A diatonic scale uses all 7 pitch names once each until the octave is reached. Major Scale- Major scale is a diatonic scale with the following pattern of steps: 1, 1, 1/2, 1, 1, 1, 1/2. Major scales are named both by the starting letter and the step pattern. For example, a D Major sc ...
... Diatonic scale- A diatonic scale uses all 7 pitch names once each until the octave is reached. Major Scale- Major scale is a diatonic scale with the following pattern of steps: 1, 1, 1/2, 1, 1, 1, 1/2. Major scales are named both by the starting letter and the step pattern. For example, a D Major sc ...
Middle School Band Curriculum 1
... and mechanics: embouchure, posture; hand position/grip; breathing mechanics; good hygiene, hydration, hearing protection, and health practices; and instrument care/maintenance. (1E, 3A, 3B) ...
... and mechanics: embouchure, posture; hand position/grip; breathing mechanics; good hygiene, hydration, hearing protection, and health practices; and instrument care/maintenance. (1E, 3A, 3B) ...
Musical Elements and Compositional Devices
... The smallest unit of musical form. It can be as short as two notes (eg the “Cuckoo” motif) and is rarely longer than six notes. A motif has a clear rhythmic pattern as well as a clear melodic outline. The motif is usually developed extensively into a long composition. One of the most recognisable mo ...
... The smallest unit of musical form. It can be as short as two notes (eg the “Cuckoo” motif) and is rarely longer than six notes. A motif has a clear rhythmic pattern as well as a clear melodic outline. The motif is usually developed extensively into a long composition. One of the most recognisable mo ...
Melody
... directions, and so on. Each also represents one month and one animal, a concept related to similar ideas in India, Greece, and Islamic cultures. The tones for a particular composition are selected from one set of lus according not so much to musical considerations as to the season or other extramusi ...
... directions, and so on. Each also represents one month and one animal, a concept related to similar ideas in India, Greece, and Islamic cultures. The tones for a particular composition are selected from one set of lus according not so much to musical considerations as to the season or other extramusi ...
Elements of Music
... Many times you may see chords with another note next to it Such as D/F#. Usually this note is already in the chord, but they want you to highlight it as a bass note. Bass players can usually stick to going with the second note. Another popular chord is a suspended chord. It would be written like As ...
... Many times you may see chords with another note next to it Such as D/F#. Usually this note is already in the chord, but they want you to highlight it as a bass note. Bass players can usually stick to going with the second note. Another popular chord is a suspended chord. It would be written like As ...
How to Play the Chromatic Scale
... chromatic scale can be easily represented by what we call the chromatic number line: ...
... chromatic scale can be easily represented by what we call the chromatic number line: ...
July 5 - UCSB Music Department
... collections of notes. No two major scales are the same. One has 1 sharp note, another has 2 sharp notes, another has 7 sharp notes, another has 3 flat notes, etc. When we make a major scale the sharps or flats we add to make the interval series “correct” are unique to that scale. For example, the sc ...
... collections of notes. No two major scales are the same. One has 1 sharp note, another has 2 sharp notes, another has 7 sharp notes, another has 3 flat notes, etc. When we make a major scale the sharps or flats we add to make the interval series “correct” are unique to that scale. For example, the sc ...
Perfect Intervals
... the distance of an interval is one part of its name, but there’s more: every interval has another quality to it, which we’ll call inflection. inflection is a bit harder to understand, partly because some theorists use it depends on the type of interval. so let’s start by the term quality for looking ...
... the distance of an interval is one part of its name, but there’s more: every interval has another quality to it, which we’ll call inflection. inflection is a bit harder to understand, partly because some theorists use it depends on the type of interval. so let’s start by the term quality for looking ...
cadences - UT School of Music
... A cadence is a resting point in music. Cadences occur at the end of phrases (statements of music). Some cadences are more conclusive than others; some cadences are final—they signal the end of a part of music—and some are non-final—they are temporary resting points. In all of music, there are four b ...
... A cadence is a resting point in music. Cadences occur at the end of phrases (statements of music). Some cadences are more conclusive than others; some cadences are final—they signal the end of a part of music—and some are non-final—they are temporary resting points. In all of music, there are four b ...
1 - USC Upstate
... 5. Bluesy quality - Frequent use of chromatic notes (notes outside the major scale), especially the flat (lowered) 3rd, 5th, or 7th degree. 6. Bomb - a percussion drum accent in the bop period: dropping bombs as opposed to keeping steady time. 7. Break - a short passage (usually two bars) in which t ...
... 5. Bluesy quality - Frequent use of chromatic notes (notes outside the major scale), especially the flat (lowered) 3rd, 5th, or 7th degree. 6. Bomb - a percussion drum accent in the bop period: dropping bombs as opposed to keeping steady time. 7. Break - a short passage (usually two bars) in which t ...
Lesson EEE: The Dominant Seventh Chord
... 6 and 7 can also be restored to their diatonic form in scalar descents. It is important to remember that the natural (diatonic) minor scale is the basis of the two composite scales. The diatonic minor scale constitutes a key, the counterpart of the major key. The harmonic and melodic minor composite ...
... 6 and 7 can also be restored to their diatonic form in scalar descents. It is important to remember that the natural (diatonic) minor scale is the basis of the two composite scales. The diatonic minor scale constitutes a key, the counterpart of the major key. The harmonic and melodic minor composite ...
Lesson_CCC_-_The_Min..
... 6 and 7 can also be restored to their diatonic form in scalar descents. It is important to remember that the natural (diatonic) minor scale is the basis of the two composite scales. The diatonic minor scale constitutes a key, the counterpart of the major key. The harmonic and melodic minor composite ...
... 6 and 7 can also be restored to their diatonic form in scalar descents. It is important to remember that the natural (diatonic) minor scale is the basis of the two composite scales. The diatonic minor scale constitutes a key, the counterpart of the major key. The harmonic and melodic minor composite ...
A PRACTICAL GLOSSARY for Twentieth
... “atonal” to refer specifically to non-serial music, such as that written by Schoenberg between 1909 and 1923. axis of symmetry (also known as axis of inversion) — the pitch (or pitches) around which a composition (or part of a composition) is inversionally symmetrical. bimodality — the use of two mo ...
... “atonal” to refer specifically to non-serial music, such as that written by Schoenberg between 1909 and 1923. axis of symmetry (also known as axis of inversion) — the pitch (or pitches) around which a composition (or part of a composition) is inversionally symmetrical. bimodality — the use of two mo ...
A - The sixth note of the diatonic major scale of C
... Cantata - Baroque sacred or secular choral composition containing solos, duets, and choruses, with orchestral or keyboard accompaniment. Carol - The term was derived from a medieval French word, carole, a circle dance. In England it was first associated with pagan songs celegrating the winter solsti ...
... Cantata - Baroque sacred or secular choral composition containing solos, duets, and choruses, with orchestral or keyboard accompaniment. Carol - The term was derived from a medieval French word, carole, a circle dance. In England it was first associated with pagan songs celegrating the winter solsti ...
AoS2 – Harmony and Tonality
... ! Modes are ancient scales, and are very distinctive ! Each mode has a different structure of tones and semitone, unlike major and minor scales – though they sometimes sound like a mixture of the ...
... ! Modes are ancient scales, and are very distinctive ! Each mode has a different structure of tones and semitone, unlike major and minor scales – though they sometimes sound like a mixture of the ...
Harmonic Progression - LearnMusicTheory.net
... expected V—I (or V—i). Sometimes vi (or VI) will move immediately back to the dominant: V—vi—V. ...
... expected V—I (or V—i). Sometimes vi (or VI) will move immediately back to the dominant: V—vi—V. ...
ATTAINMENT TARGET
... b) play a steady G major scale & arpeggio a) understand repeat signs b) understand 3/4 time c) understand slurs d) read notes learned so far ...
... b) play a steady G major scale & arpeggio a) understand repeat signs b) understand 3/4 time c) understand slurs d) read notes learned so far ...
TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... bitonal -- a type of polytonality in which there are only 2 tonal centers chromatic mediant -- two chords / keys a third apart that have the same quality (major or minor) extended tertian sonorities ("tall" chords) -- 9th / 11th / 13th chords harmony -- the vertical aspect of music methods of establ ...
... bitonal -- a type of polytonality in which there are only 2 tonal centers chromatic mediant -- two chords / keys a third apart that have the same quality (major or minor) extended tertian sonorities ("tall" chords) -- 9th / 11th / 13th chords harmony -- the vertical aspect of music methods of establ ...
Benward Chapter 6
... Moving away from the tonic produces a somewhat restless feeling, whereas arrival at the tonal center gives a sense of relaxation and ...
... Moving away from the tonic produces a somewhat restless feeling, whereas arrival at the tonal center gives a sense of relaxation and ...
ATTAINMENT TARGET
... a) play dotted quaver/semiquaver rhythm b) to be able to play an appropriate piece using “swing or jazz” feel ...
... a) play dotted quaver/semiquaver rhythm b) to be able to play an appropriate piece using “swing or jazz” feel ...
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.