Chapter One Introduction to Quarter
... Wyschnegradsky, the most progressive. Chapter 6 extends Richard Cohn’s “parsimonious trichord” by applying the transformational approach of neoRiemannian theory to chords derived from a quarter-tone scale developed by Wyschnegradsky.2 One obstacle to overcome when analyzing microtonal music is that ...
... Wyschnegradsky, the most progressive. Chapter 6 extends Richard Cohn’s “parsimonious trichord” by applying the transformational approach of neoRiemannian theory to chords derived from a quarter-tone scale developed by Wyschnegradsky.2 One obstacle to overcome when analyzing microtonal music is that ...
Debussy`s Corner of Paris 1908
... Claude Debussy never sought fame. An intensely private person, he often kept his friends ignorant of each other‘s existence. He made the obligatory public appearances only reluctantly. Until the production of his opera Pelléas et Mélisande in 1902, Debussy‘s name was scarcely known to the general pu ...
... Claude Debussy never sought fame. An intensely private person, he often kept his friends ignorant of each other‘s existence. He made the obligatory public appearances only reluctantly. Until the production of his opera Pelléas et Mélisande in 1902, Debussy‘s name was scarcely known to the general pu ...
Pentatonic Scales
... • Blues uses mainly the minor pentatonic but depending upon the player and tune major pentatonic scales are also used. • Major pentatonic scales are used extensively in country music. • Just listen to the sound and identify the scale in songs that you like. • There are really 5 pentatonic scale form ...
... • Blues uses mainly the minor pentatonic but depending upon the player and tune major pentatonic scales are also used. • Major pentatonic scales are used extensively in country music. • Just listen to the sound and identify the scale in songs that you like. • There are really 5 pentatonic scale form ...
Modern harmony, its explanation and application - DMU
... So much harmony teaching is founded on mere book formalities that there is little, if any appeal to the e^^dence ot the aural mteUigence-the real arbiter in aU matters of musical taste. It is the empirical method which makes the theory of the music of the later composers so difficult, and we cannot ...
... So much harmony teaching is founded on mere book formalities that there is little, if any appeal to the e^^dence ot the aural mteUigence-the real arbiter in aU matters of musical taste. It is the empirical method which makes the theory of the music of the later composers so difficult, and we cannot ...
scale networks and debussy
... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
Stravinsky and the Octatonic: A Reconsideration
... as well as passages that alternate between harmonic and melodic minor collections. (The harmonic minor scale is not part of my collection of four scales, but it is part of a related seven-scale collection: see p. 88 below.) In these respects, the early ballets wear their Impressionist in uences on ...
... as well as passages that alternate between harmonic and melodic minor collections. (The harmonic minor scale is not part of my collection of four scales, but it is part of a related seven-scale collection: see p. 88 below.) In these respects, the early ballets wear their Impressionist in uences on ...
Other Chords of the Major Key
... The Leading Tone Chord is built on Ti, the seventh tone of the Major Diatonic Scale. It is made up of the tones Ti, Re and Fa. It is identified with a "viio". As pointed out on page 11, the "o" denotes a diminished chord. All Major Chords are made up of a major third interval as the lower interval a ...
... The Leading Tone Chord is built on Ti, the seventh tone of the Major Diatonic Scale. It is made up of the tones Ti, Re and Fa. It is identified with a "viio". As pointed out on page 11, the "o" denotes a diminished chord. All Major Chords are made up of a major third interval as the lower interval a ...
Music Theory Unplugged Functional Harmony
... there is now a major second or minor second interval in the structure due to the distance of the seventh degree to the octave. In addition there are also a perfect fourth and a minor sixth intervals in the chord structure Another tip for future analysis is that if you are looking for the tonic/root ...
... there is now a major second or minor second interval in the structure due to the distance of the seventh degree to the octave. In addition there are also a perfect fourth and a minor sixth intervals in the chord structure Another tip for future analysis is that if you are looking for the tonic/root ...
Pythagorean tuning
... In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth), while 2:1 or 1:2 represent an ascending or descending octave. The major scale based on C, obtained from this tuning is:[5] In equal temperament, pai ...
... In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth), while 2:1 or 1:2 represent an ascending or descending octave. The major scale based on C, obtained from this tuning is:[5] In equal temperament, pai ...
Major and minor music compared to excited and subdued speech
... To assess the tonal differences between the major and minor melodies, the chromatic intervals represented by each melody note were determined 共1兲 with respect to the annotated tonic of the melody and 共2兲 with respect to the immediately following melody note. Chromatic intervals based on the tonic 共r ...
... To assess the tonal differences between the major and minor melodies, the chromatic intervals represented by each melody note were determined 共1兲 with respect to the annotated tonic of the melody and 共2兲 with respect to the immediately following melody note. Chromatic intervals based on the tonic 共r ...
AP Theory Syllabus - Chelmsford Public Schools
... Course Description: AP Music Theory is designed for students who require it for career study as well as those who desire it for enrichment. Though the main emphasis is placed on music of the Common Practice Period (Western tonality from1600-1900), music of other stylistic periods and cultures is als ...
... Course Description: AP Music Theory is designed for students who require it for career study as well as those who desire it for enrichment. Though the main emphasis is placed on music of the Common Practice Period (Western tonality from1600-1900), music of other stylistic periods and cultures is als ...
Lesson_LLL_-_Mixture..
... Mixture and basic interval progressions: Instances of mixture are often the result of adjustments made to the basic interval progressions outlined in Lesson 1. In all of the harmonic progressions considered in this lesson, the voiceleading is governed by the same basic interval progressions whether ...
... Mixture and basic interval progressions: Instances of mixture are often the result of adjustments made to the basic interval progressions outlined in Lesson 1. In all of the harmonic progressions considered in this lesson, the voiceleading is governed by the same basic interval progressions whether ...
Harmonic Language in The Legend of Zelda: Ocarina of Time
... As William Caplin notes, chords that substitute for each other often share two common tones, reflecting the similarity of their harmonic roles.1 For example, I and VI belong to the same harmonic group (tonic) and they share scale degrees 1 and 3. In Common Practice music, harmonic progressions move ...
... As William Caplin notes, chords that substitute for each other often share two common tones, reflecting the similarity of their harmonic roles.1 For example, I and VI belong to the same harmonic group (tonic) and they share scale degrees 1 and 3. In Common Practice music, harmonic progressions move ...
Lesson WWW: Minor Keys and Key Signatures
... or are relative keys, because they share the same key signature. ^1 in A minor is the same pitch as ^6 in C major. In general, the keynote of a major key's relative minor is a minor third below the corresponding major scale's keynote (in Example XXX.2, A is a minor third below C). Similarly, C is ^3 ...
... or are relative keys, because they share the same key signature. ^1 in A minor is the same pitch as ^6 in C major. In general, the keynote of a major key's relative minor is a minor third below the corresponding major scale's keynote (in Example XXX.2, A is a minor third below C). Similarly, C is ^3 ...
Blues and Other Popular Styles
... treated differently from their counterparts in classical styles. First, the seventh chord is considered as stable as the triad. Seventh chords may appear on any degree of the scale and on nearly every change of chord. Second, while in classical music chordal sevenths are considered a dissonance tha ...
... treated differently from their counterparts in classical styles. First, the seventh chord is considered as stable as the triad. Seventh chords may appear on any degree of the scale and on nearly every change of chord. Second, while in classical music chordal sevenths are considered a dissonance tha ...
A permutational triadic approach to jazz harmony and the chord
... I would like to express my appreciation for my family and their support and inspiration throughout this process. My wife, Diễm Mai Bishop and my children Sarah Ngọc Vân Bishop and Jonah Ngọc Qúy Bishop; my parents, John Bishop Jr., Nancy Bishop, Vũ Ngô Dũng, and Vũ Hà Lan Nha; and my siblings, Karen ...
... I would like to express my appreciation for my family and their support and inspiration throughout this process. My wife, Diễm Mai Bishop and my children Sarah Ngọc Vân Bishop and Jonah Ngọc Qúy Bishop; my parents, John Bishop Jr., Nancy Bishop, Vũ Ngô Dũng, and Vũ Hà Lan Nha; and my siblings, Karen ...
RESEARCH ARTICLE Metrics for Scales and Tunings
... same number of notes (and hence the same number of intervals), any reasonable metric can be used to describe the distance between them. For example, Chalmers [2] measures the distances between tetrachords using a variety of metrics such as the Euclidean `2 , the taxicab metric `1 , and the max-value ...
... same number of notes (and hence the same number of intervals), any reasonable metric can be used to describe the distance between them. For example, Chalmers [2] measures the distances between tetrachords using a variety of metrics such as the Euclidean `2 , the taxicab metric `1 , and the max-value ...
Master Your Theory Grade 1
... D flat is a semitone below D (D flat is another name for the black note between C and D) E flat is a semitone below E (E flat is the same note as D sharp on a keyboard). ...
... D flat is a semitone below D (D flat is another name for the black note between C and D) E flat is a semitone below E (E flat is the same note as D sharp on a keyboard). ...
Evolution and Structure in Flamenco Harmony
... rumba, and miionga, and the alegrias, which evidently originated from the Aragonesejota. These latter are ofless interest to us here since they tend to lack the distinctive harmonic features of the Andalusian-derived cantes. Andalusian harmony combines elements of European common practice with disti ...
... rumba, and miionga, and the alegrias, which evidently originated from the Aragonesejota. These latter are ofless interest to us here since they tend to lack the distinctive harmonic features of the Andalusian-derived cantes. Andalusian harmony combines elements of European common practice with disti ...
Chapter 1: Introduction to Pairwise Well-Formed Scales
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
Mode (music)
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.