Full PDF - 2012 Book Archive
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
Stravinsky and the Octatonic: The Sounds of
... way, we want to say that the viola part consists in a descending scale (a unidirectional pattern of notes, each related by scale-step to the one that comes before it), and that the second time this pattern occurs it is doubled at the third (i.e., it occurs in conjunction with its diatonic transposit ...
... way, we want to say that the viola part consists in a descending scale (a unidirectional pattern of notes, each related by scale-step to the one that comes before it), and that the second time this pattern occurs it is doubled at the third (i.e., it occurs in conjunction with its diatonic transposit ...
Just Intonation Explained
... piano are divisible by 100 cents. For example, what musicians call a half-step (C up to Db) = 100 cents whole step (C to D) = 200 cents minor third (C to Eb) = 300 cents major third (C to E) = 400 cents perfect fourth (C to F) = 500 cents augmented fourth (diminished fifth, C to F#) = 600 cents perf ...
... piano are divisible by 100 cents. For example, what musicians call a half-step (C up to Db) = 100 cents whole step (C to D) = 200 cents minor third (C to Eb) = 300 cents major third (C to E) = 400 cents perfect fourth (C to F) = 500 cents augmented fourth (diminished fifth, C to F#) = 600 cents perf ...
(1) Sound and Music
... Human ears can only hear sounds within a certain range of frequencies. As people grow older, their hearing range reduces. A young person can usually hear sounds in the range of 20 Hz to ...
... Human ears can only hear sounds within a certain range of frequencies. As people grow older, their hearing range reduces. A young person can usually hear sounds in the range of 20 Hz to ...
RATIOS AND MUSICAL INTERVALS We like to think of an interval
... The interval created when f1 = f2 will here be called the unison interval. It is given by the ratio f : f (for any f ∈ R+ ), whcich corresponds via ϕ to the number 1. Each interval f1 : f2 has a unique opposite interval, given by the ratio f2 : f1 . It is the interval having the same “distance” in t ...
... The interval created when f1 = f2 will here be called the unison interval. It is given by the ratio f : f (for any f ∈ R+ ), whcich corresponds via ϕ to the number 1. Each interval f1 : f2 has a unique opposite interval, given by the ratio f2 : f1 . It is the interval having the same “distance” in t ...
Lesson_WWW_-_Minor_K..
... Notice that in Exercise WWW.3, the parallel minor was found by removing the last three sharps from the key signature. In general, the parallel minor of a given major key can be found by removing the last three sharps if the key signature has three or more sharps, or adding three flats if the key sig ...
... Notice that in Exercise WWW.3, the parallel minor was found by removing the last three sharps from the key signature. In general, the parallel minor of a given major key can be found by removing the last three sharps if the key signature has three or more sharps, or adding three flats if the key sig ...
Synthesis of Divergent Early and Twentieth
... and twentieth-century music.1 This article identifies these early and new elements and discovers how they are synthesized into a twentieth-century idiom. Most significantly, this mass reveals a disparate harmonic language that includes modality, octatonicism, pentatonicism, and functional harmony. F ...
... and twentieth-century music.1 This article identifies these early and new elements and discovers how they are synthesized into a twentieth-century idiom. Most significantly, this mass reveals a disparate harmonic language that includes modality, octatonicism, pentatonicism, and functional harmony. F ...
Scales and temperaments: the fivefold way
... After the octave and the fth, the next most interesting ratio is 4:3. If we follow a perfect fth (ratio 3:2) by the ratio 4:3, we obtain a ratio of 4:2 or 2:1, which is an octave. So 4:3 is an octave minus a perfect fth, or a perfect fourth. So this gives us nothing new. The next new interval is ...
... After the octave and the fth, the next most interesting ratio is 4:3. If we follow a perfect fth (ratio 3:2) by the ratio 4:3, we obtain a ratio of 4:2 or 2:1, which is an octave. So 4:3 is an octave minus a perfect fth, or a perfect fourth. So this gives us nothing new. The next new interval is ...
Lorenz Composer
... constitute an octave. These pitches are: C, C#, D, D#, E, F, F#, G, G#, A, A#, and B. After B, the sequence repeats itself with the C from the octave above. The tones in music can be understood as sine waves of varying frequencies. The frequency of a pitch is twice that of the pitch in the octave be ...
... constitute an octave. These pitches are: C, C#, D, D#, E, F, F#, G, G#, A, A#, and B. After B, the sequence repeats itself with the C from the octave above. The tones in music can be understood as sine waves of varying frequencies. The frequency of a pitch is twice that of the pitch in the octave be ...
scales and key signatures edition a subcourse overview
... IAW the information given in this lesson. ...
... IAW the information given in this lesson. ...
The Syntax of Music
... these three chords as the underlying harmony. – Krumhansl et al. 1982 tested how well one chord followed from a second in a context of an ascending scale. • Mul
... these three chords as the underlying harmony. – Krumhansl et al. 1982 tested how well one chord followed from a second in a context of an ascending scale. • Mul
Musicology Today
... not originate with the harmonic structure but with the writing as a whole, involving all compositional parameters – melody, harmony, polyphony, timbre, dynamics – and a wide range of expression indications (sui generis verbalizations of the conveyed and intended psychological states). The make-up of ...
... not originate with the harmonic structure but with the writing as a whole, involving all compositional parameters – melody, harmony, polyphony, timbre, dynamics – and a wide range of expression indications (sui generis verbalizations of the conveyed and intended psychological states). The make-up of ...
Basic Music Theory - 547 Canuck Squadron
... point on the staff, we can name all the notes above and below. Music notes are named after the first seven letters of the alphabet, from A to G. Based on their position on the staff, they can represent the entire range of musical sound. ...
... point on the staff, we can name all the notes above and below. Music notes are named after the first seven letters of the alphabet, from A to G. Based on their position on the staff, they can represent the entire range of musical sound. ...
A Mathematical and Musical Analogy in Microtonal Systems
... diagrams, we are able to see all the notes as they appear in C-major diatonic (white notes) scale. Furthermore, defining the diatonic scale in this 11-tone way distinguishes our chord structures and represented Cayley diagrams as distinct and different than those chord diagrams generated by Balzano ...
... diagrams, we are able to see all the notes as they appear in C-major diatonic (white notes) scale. Furthermore, defining the diatonic scale in this 11-tone way distinguishes our chord structures and represented Cayley diagrams as distinct and different than those chord diagrams generated by Balzano ...
Playing Melodically and Harmonically in Tune Michael Kimber One
... After tuning twelve pure perfect fifths another discrepancy appears: B# comes out higher than C. In fact, every sharp in this tuning is slightly higher than its enharmonic flat or natural, and every flat is correspondingly lower, by an amount known as the Pythagorean comma—about the same size as the ...
... After tuning twelve pure perfect fifths another discrepancy appears: B# comes out higher than C. In fact, every sharp in this tuning is slightly higher than its enharmonic flat or natural, and every flat is correspondingly lower, by an amount known as the Pythagorean comma—about the same size as the ...
Lesson XXX: Major Keys and Key Signatures
... signature, and how to write key signatures on bass and treble clef. Major keys: A piece is in a major key if it takes pitches from a major scale, the tonic (key note) has a position of primary importance and the remaining scale degrees are treated according to a hierarchy of pitches relating to toni ...
... signature, and how to write key signatures on bass and treble clef. Major keys: A piece is in a major key if it takes pitches from a major scale, the tonic (key note) has a position of primary importance and the remaining scale degrees are treated according to a hierarchy of pitches relating to toni ...
This Worldes Joie Part 1 analysis
... framework. Unlike major and minor scales, the octatonic scale is symmetrical, meaning that its interval pattern is regular. Just as a whole-tone scale can only be transposed once (C to Db, for example), transposing an octatonic scale more than twice will result in the same set of notes, though start ...
... framework. Unlike major and minor scales, the octatonic scale is symmetrical, meaning that its interval pattern is regular. Just as a whole-tone scale can only be transposed once (C to Db, for example), transposing an octatonic scale more than twice will result in the same set of notes, though start ...
Yet Another 72-Noter - Masters Program in Digital Musics
... the form given in Fig. 2, a dense collection of "chromatic" notes organized around the diatonic scale as a sort of armature. It was clear to me that in this scale the six steps within each of the major thirds, C-E and G-B, were essentially equal, as were the four within the E-G minor third. It was f ...
... the form given in Fig. 2, a dense collection of "chromatic" notes organized around the diatonic scale as a sort of armature. It was clear to me that in this scale the six steps within each of the major thirds, C-E and G-B, were essentially equal, as were the four within the E-G minor third. It was f ...
Music, Cognition, and Computerized Sound: Chap14
... Beats are the chief means for tuning musical instruments precisely. Through a sense of pitch and a memory of intervals, those with musical ability can tune one note of a piano keyboard to approximately the right interval from another note. But it is by beats that the final tuning is made. In tuning ...
... Beats are the chief means for tuning musical instruments precisely. Through a sense of pitch and a memory of intervals, those with musical ability can tune one note of a piano keyboard to approximately the right interval from another note. But it is by beats that the final tuning is made. In tuning ...
Unit 4 - Intervals
... C# and Db are the same pitch; however they are not notated the same on the staff. ...
... C# and Db are the same pitch; however they are not notated the same on the staff. ...
11ths and 13ths - Scored Changes
... Note that this same chord can be found written differently. C11 automatically implies that the major 3rd is omitted. The third symbol (in the second bar) shows that the same chord can be thought of as being a minor 7th on a pedal note a perfect fifth below. This is often easier for a piano player to ...
... Note that this same chord can be found written differently. C11 automatically implies that the major 3rd is omitted. The third symbol (in the second bar) shows that the same chord can be thought of as being a minor 7th on a pedal note a perfect fifth below. This is often easier for a piano player to ...
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.