Minor Keys and Scales
... dierent place. (If the patterns were very dierent, minor key signatures would not be the same as major key signatures.) The pattern for the minor scale starts a half step plus a whole step lower than the major scale pattern, so a relative minor is always three half steps lower than its relative ma ...
... dierent place. (If the patterns were very dierent, minor key signatures would not be the same as major key signatures.) The pattern for the minor scale starts a half step plus a whole step lower than the major scale pattern, so a relative minor is always three half steps lower than its relative ma ...
Dissonance and Resolution
... I found that the major third interval actually had three partials that were within the critical bandwidth of the C note. The perfect fourth, on the other hand, was perfectly consonant. I concluded this must be the reason mathematically why people always preferred fourths to thirds. The fourth is pe ...
... I found that the major third interval actually had three partials that were within the critical bandwidth of the C note. The perfect fourth, on the other hand, was perfectly consonant. I concluded this must be the reason mathematically why people always preferred fourths to thirds. The fourth is pe ...
Contents 1. Introduction 2
... This document presents the fretboard of a popular major-thirds tuning A[–C –E –A[–C –E. Diagrams present major-third tuning’s fundamental chords (major triads, minor triads, and dominant seventh chords). Diagonal, vertical, and horizontal shiftings of chords is illustrated. A C –F –G7 (I –IV –V7 ) c ...
... This document presents the fretboard of a popular major-thirds tuning A[–C –E –A[–C –E. Diagrams present major-third tuning’s fundamental chords (major triads, minor triads, and dominant seventh chords). Diagonal, vertical, and horizontal shiftings of chords is illustrated. A C –F –G7 (I –IV –V7 ) c ...
Seventh Chords
... Added-sixth chords can also occur when a chromatically-moving line is placed against a tonic triad. This creates slight color variations in a chord that is not really going anywhere. Jazz musicians call this technique CESH, for Chromatic Elaboration of Static Harmony. This technique is common in man ...
... Added-sixth chords can also occur when a chromatically-moving line is placed against a tonic triad. This creates slight color variations in a chord that is not really going anywhere. Jazz musicians call this technique CESH, for Chromatic Elaboration of Static Harmony. This technique is common in man ...
Using Whole Tone Scales in Improvisation
... stretching consists of altering diatonic scale tones to fit the phrase. This adds considerable color, and lends a distinct horizontal character to the passage. Of course, the benefit of going through the stretching process is that ...
... stretching consists of altering diatonic scale tones to fit the phrase. This adds considerable color, and lends a distinct horizontal character to the passage. Of course, the benefit of going through the stretching process is that ...
Lesson EEE: The Dominant Seventh Chord
... The third inversion of the dominant seventh chord is a special case and does not appear as frequently as the other positions. In a V 42 , the chordal seventh is exposed in the bass. This makes it very audible and therefore very powerful. Because of tendency of 4 to resolve to 3, the chord of resolut ...
... The third inversion of the dominant seventh chord is a special case and does not appear as frequently as the other positions. In a V 42 , the chordal seventh is exposed in the bass. This makes it very audible and therefore very powerful. Because of tendency of 4 to resolve to 3, the chord of resolut ...
Musical Scales - Rick Bradford Home Page
... Memo: Find some way of trying this scale out. Can t be done on an instrument (unless, say, two guitars were used, with one tuned down to provide the two new notes - but I don t know how I d tune-in the new notes to the required frequency??). The obvious thing is to use a PC which can supply a tone s ...
... Memo: Find some way of trying this scale out. Can t be done on an instrument (unless, say, two guitars were used, with one tuned down to provide the two new notes - but I don t know how I d tune-in the new notes to the required frequency??). The obvious thing is to use a PC which can supply a tone s ...
Ki ho`alu Guitar Tunings Guitar Tunings
... although these positions show a way to play the most complete version of the chord in the first position, they are not necessarily the positions most commonly used. In practice, slack key artists often use partial chords, where fewer strings are played, and therefore fewer strings are fretted. The s ...
... although these positions show a way to play the most complete version of the chord in the first position, they are not necessarily the positions most commonly used. In practice, slack key artists often use partial chords, where fewer strings are played, and therefore fewer strings are fretted. The s ...
music
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
... I can play an altered 12-bar chord sequence. I can improvise a 12 bar melody using the C blues scale. EXTENSION: I can improvise and play the chord sequence using both hands. I can locate and name the blue notes in the blues scale on C. I can accurately play the blues scale on C. I can compose a 12- ...
Music Theory ==> Basic Level
... The first note of a scale is called the tonic, and gives its name to the scale - so this is a C scale. If the first 3rd of the scale (with respect to the tonic) is a major third (3), the scale will be "major"; if it is a minor third (m3), the scale will correspondingly be "minor". So the scale above ...
... The first note of a scale is called the tonic, and gives its name to the scale - so this is a C scale. If the first 3rd of the scale (with respect to the tonic) is a major third (3), the scale will be "major"; if it is a minor third (m3), the scale will correspondingly be "minor". So the scale above ...
The Lydian dominant scale The Lydian dominant scale is a very
... very unique, easy to recognize character, which characterizes a lot of fusion players, such as Allan Holdsworth and Frank Gambale. The scale is actually a mode of the harmonic minor scale, and is a co ...
... very unique, easy to recognize character, which characterizes a lot of fusion players, such as Allan Holdsworth and Frank Gambale. The scale is actually a mode of the harmonic minor scale, and is a co ...
Mathematics of Music 1. INTRODUCTION 2. HISTORY OF FOURIER
... fundamental by n, we go up the harmonics series. To go down the series, called the subharmonic series, we multiply by 1/n. If we continue the harmonic series up and down, we will have the major and minor scales of notes, so we can fill in all of the notes of the chromatic scale, which would be like ...
... fundamental by n, we go up the harmonics series. To go down the series, called the subharmonic series, we multiply by 1/n. If we continue the harmonic series up and down, we will have the major and minor scales of notes, so we can fill in all of the notes of the chromatic scale, which would be like ...
Middle School WorkBook
... 24. Key Signature - is a series of sharp symbols or flat symbols placed on the staff, designating notes that are to be consistently played one semitone higher or lower than the equivalent natural notes (for example, the white notes on a piano keyboard) unless otherwise altered with an accidental. 25 ...
... 24. Key Signature - is a series of sharp symbols or flat symbols placed on the staff, designating notes that are to be consistently played one semitone higher or lower than the equivalent natural notes (for example, the white notes on a piano keyboard) unless otherwise altered with an accidental. 25 ...
lesson 1 - john p birchall
... White note scales, without sharps or flats, starting on notes other than C are called MODES and because they have the semitone steps In DIFFERENT PLACES their characteristic sound is different. These modes all have Greek names and were used extensively in early period music to create a variety of d ...
... White note scales, without sharps or flats, starting on notes other than C are called MODES and because they have the semitone steps In DIFFERENT PLACES their characteristic sound is different. These modes all have Greek names and were used extensively in early period music to create a variety of d ...
Three Conceptions of Musical Distance
... discrete, with adjacent points on a particular axis being separated by the same interval. The leftmost lattice in Figure 3 shows the most familiar of these, where the two axes represent acoustically pure perfect fifths and major thirds. (One can imagine a third axis, representing either the octave o ...
... discrete, with adjacent points on a particular axis being separated by the same interval. The leftmost lattice in Figure 3 shows the most familiar of these, where the two axes represent acoustically pure perfect fifths and major thirds. (One can imagine a third axis, representing either the octave o ...
The Mathematics of Musical Instruments
... Equal temperament involves approximating an irrational rotation of the circle by a rational one. There is a natural geometric way to think about this approximation. The graph of the line y = µx intersects the vertical lines x = q, where q is a positive integer, at the points µq. The decimal part of ...
... Equal temperament involves approximating an irrational rotation of the circle by a rational one. There is a natural geometric way to think about this approximation. The graph of the line y = µx intersects the vertical lines x = q, where q is a positive integer, at the points µq. The decimal part of ...
Other Chords of the Major Key
... a major third interval as the lower interval and a minor third upper interval. Minor Chords are made up of a minor third interval as the lower interval and a major third upper interval. The viio chord, however, is made up a two minor third intervals, thus a diminished chord. Examples of the Leading ...
... a major third interval as the lower interval and a minor third upper interval. Minor Chords are made up of a minor third interval as the lower interval and a major third upper interval. The viio chord, however, is made up a two minor third intervals, thus a diminished chord. Examples of the Leading ...
isomorphic tessellations for musical keyboards
... of harmonies that can be achieved through any number of discrete tones. In music theory, there are several harmonic combinations that are found in the music of all ages. These are the octave, the dominant triad, and the dominant seventh. The octave is an interval between two musical notes where one ...
... of harmonies that can be achieved through any number of discrete tones. In music theory, there are several harmonic combinations that are found in the music of all ages. These are the octave, the dominant triad, and the dominant seventh. The octave is an interval between two musical notes where one ...
1 Interlude: Two-to-One Counterpoint Introduction In the last
... pull too much in one direction, multiple focal points, an overly small range, nonresolving leading tones (except for stepwise descending lines), dissonant melodic intervals, same-direction motion before and after large leaps (or after fourths), more than two consecutive leaps in the same direction, ...
... pull too much in one direction, multiple focal points, an overly small range, nonresolving leading tones (except for stepwise descending lines), dissonant melodic intervals, same-direction motion before and after large leaps (or after fourths), more than two consecutive leaps in the same direction, ...
Intervals Perfect Intervals
... Intervals An Interval is the distance between two notes. In level one we learned to name intervals by number: ...
... Intervals An Interval is the distance between two notes. In level one we learned to name intervals by number: ...
THE BLUES SCALE Phillip Pedler This scale is so often overlooked
... The first interval to be considered is the unison. This is easily overlooked as an interval but it is the first musical relationship a child or student makes. Singing or playing in unison can be a very powerful experience. The second harmonic is the octave and is shown to be the frequency ratio of ...
... The first interval to be considered is the unison. This is easily overlooked as an interval but it is the first musical relationship a child or student makes. Singing or playing in unison can be a very powerful experience. The second harmonic is the octave and is shown to be the frequency ratio of ...
NCEA Level 1 Music (91094) 2011 Assessment Schedule
... short and detached / given less than its full duration. ...
... short and detached / given less than its full duration. ...
Circle of fifths
In music theory, the circle of fifths (or circle of fourths) is a visual representation of the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More specifically, it is a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space.