![Keyboard In Western Style](http://s1.studyres.com/store/data/007751238_1-b5e166bded4b6197a7aea99040220430-300x300.png)
Keyboard In Western Style
... The interval between two notes is the distance between the two pitches - in other words, how much higher or lower one note is than the other. This concept is so important that it is almost impossible to talk about scales, chords, without referring to intervals. So if you want to learn western music ...
... The interval between two notes is the distance between the two pitches - in other words, how much higher or lower one note is than the other. This concept is so important that it is almost impossible to talk about scales, chords, without referring to intervals. So if you want to learn western music ...
Music Theory - Fairbanks North Star Borough School District
... Suggested Pacing: second six weeks ...
... Suggested Pacing: second six weeks ...
The Geometry of Musical Chords REPORTS
... letter-names of Western music theory: C 0 0, C /D> 0 1, D 0 2, D quarter-tone sharp 0 2.5, etc. Western music typically uses only a discrete lattice of points in this space. Here I consider the more general, continuous case. This is because the symmetrical chords that influence voice-leading behavio ...
... letter-names of Western music theory: C 0 0, C /D> 0 1, D 0 2, D quarter-tone sharp 0 2.5, etc. Western music typically uses only a discrete lattice of points in this space. Here I consider the more general, continuous case. This is because the symmetrical chords that influence voice-leading behavio ...
Tuning, Tonality, and 22
... fact that 12-equal is not the historical basis for the diatonic scale; in fact the converse is true, and 12equal was chosen over other meantone tunings only for convenience. Balzano focuses on certain grouptheoretical properties of 12-equal and of the diatonic scales within it. For example, his view ...
... fact that 12-equal is not the historical basis for the diatonic scale; in fact the converse is true, and 12equal was chosen over other meantone tunings only for convenience. Balzano focuses on certain grouptheoretical properties of 12-equal and of the diatonic scales within it. For example, his view ...
"Tonal Organization in Schoenberg`s Six Little Piano Pieces, Op. 19"
... Piano Pieces, Op. 19. In 1911, when they were written, Schoenberg had been composing in his new atonal style for some time, having already completed the monodrama Erwartung (1909), and being just over a year away from the completion of Pierrot Lunaire (1912). Thus, lying as they do between these two ...
... Piano Pieces, Op. 19. In 1911, when they were written, Schoenberg had been composing in his new atonal style for some time, having already completed the monodrama Erwartung (1909), and being just over a year away from the completion of Pierrot Lunaire (1912). Thus, lying as they do between these two ...
Musical Knowledge for ABRSM Aural, GCSE and A levels
... BINARY A: B Not a lot of contrast – explores one main idea A starts in the tonic key and modulates to a closely related key B starts from the closely related key to return to the tonic key at the end TERNARY A;B:A form in late Baroque (B is contrasting) FUGUE All parts enter in turn with the same me ...
... BINARY A: B Not a lot of contrast – explores one main idea A starts in the tonic key and modulates to a closely related key B starts from the closely related key to return to the tonic key at the end TERNARY A;B:A form in late Baroque (B is contrasting) FUGUE All parts enter in turn with the same me ...
MUS 1110: Elementary Harmony, Counterpoint, and Ethnic Music
... 4. Wilson, Mortimer. 2009. The Rhetoric of Music: Harmony, Counterpoint, Musical Form. ...
... 4. Wilson, Mortimer. 2009. The Rhetoric of Music: Harmony, Counterpoint, Musical Form. ...
MUS 1110 Elementary Harmony
... MUS 1110 Elementary Harmony, Counterpoint, and Ethnic Music Writing Description: This course is designed for students who have a background in music as one of the subjects offered for the Uganda Advanced Certificate of Education (UACE) or the equivalent or a good diploma certificate in which music w ...
... MUS 1110 Elementary Harmony, Counterpoint, and Ethnic Music Writing Description: This course is designed for students who have a background in music as one of the subjects offered for the Uganda Advanced Certificate of Education (UACE) or the equivalent or a good diploma certificate in which music w ...
Lesson EEE: The Dominant Seventh Chord
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discu ...
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discu ...
Lesson_CCC_-_The_Min..
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discu ...
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discu ...
Bi-tonal Quartal Harmony
... In practice, all chords within the same chord class can substitute for one another if the bass chord root is shared. One might consider the idea of “chord substitution” often employed by musicians i ...
... In practice, all chords within the same chord class can substitute for one another if the bass chord root is shared. One might consider the idea of “chord substitution” often employed by musicians i ...
Good Melodic Writing
... 6. Observe voice-leading. Create a smooth bass line. Use appropriate inversions and NCTs. 7. Apply chord extension and chord substitution to enhance harmonic color. 8. Linear harmony is the result of smooth chromatic voice-leading in different parts. It does not have to be functional. 9. Functional ...
... 6. Observe voice-leading. Create a smooth bass line. Use appropriate inversions and NCTs. 7. Apply chord extension and chord substitution to enhance harmonic color. 8. Linear harmony is the result of smooth chromatic voice-leading in different parts. It does not have to be functional. 9. Functional ...
C:\Documents and Settings\Borys Medicky\My Documents\Basso
... of third will often be determined by looking at the very next bass note after the progression (in which case rules 7 and 8 may apply). c. When the bass descends by step, a seventh may be played above the first chord, resolving to the major sixth. 10. If the bass has a stepwise ascending passage, the ...
... of third will often be determined by looking at the very next bass note after the progression (in which case rules 7 and 8 may apply). c. When the bass descends by step, a seventh may be played above the first chord, resolving to the major sixth. 10. If the bass has a stepwise ascending passage, the ...
Relations between Keys and Modes
... Modern theorists of Italian opera refer to the principle of hanging different triads below a fixed pitch as the exploration of a particular sonority (sonorità); others include it within the idea of common-note tonality. The six distinct triads that emerge can form a collection with its own momentum ...
... Modern theorists of Italian opera refer to the principle of hanging different triads below a fixed pitch as the exploration of a particular sonority (sonorità); others include it within the idea of common-note tonality. The six distinct triads that emerge can form a collection with its own momentum ...
What is Tonality - California State University, Los Angeles
... twelve-tone tonal music. To say that there is a basic "chord type" in twelve-tone tonality refers to the constructive principle, and not to a particular kind of intervallic structure that uniformly results from its application. Arrays consist of sets of chords with common axes of symmetry; families ...
... twelve-tone tonal music. To say that there is a basic "chord type" in twelve-tone tonality refers to the constructive principle, and not to a particular kind of intervallic structure that uniformly results from its application. Arrays consist of sets of chords with common axes of symmetry; families ...
How to Dissect Modes to Create New Melodic Material
... Introduction: How to Dissect Modes for Guitar This series of lessons delve deeply into how to dissect modes for guitar, and teaches you a multi-layered method for soloing and composing melodies with their unique texture and tonality. You will learn how to use substitute triads, arpeggios and pentato ...
... Introduction: How to Dissect Modes for Guitar This series of lessons delve deeply into how to dissect modes for guitar, and teaches you a multi-layered method for soloing and composing melodies with their unique texture and tonality. You will learn how to use substitute triads, arpeggios and pentato ...
A Psychophysical Explanation for Why Major Chords are “Bright
... The oldest puzzle in traditional music theory concerns the affect of major and minor chords. Regardless of musical training, culture or subject age, major chords are evaluated as “bright and happy”, and minor chords as “dark and sad”. We have found that an explanation of the affective charge of the ...
... The oldest puzzle in traditional music theory concerns the affect of major and minor chords. Regardless of musical training, culture or subject age, major chords are evaluated as “bright and happy”, and minor chords as “dark and sad”. We have found that an explanation of the affective charge of the ...
M100: Music Appreciation Discussion Group Tuesday January 29
... two-beat (or four-beat) patterns, then the music is said to be in duple meter (or “quadruple meter”—for the purposes of this course quadruple meter will be treated as equal to duple meter). • If it sounds like the beats have been grouped in threebeat patterns, then the music is in triple meter. • So ...
... two-beat (or four-beat) patterns, then the music is said to be in duple meter (or “quadruple meter”—for the purposes of this course quadruple meter will be treated as equal to duple meter). • If it sounds like the beats have been grouped in threebeat patterns, then the music is in triple meter. • So ...
Guerilla Ear Training
... KNOW and instantly analyze what you are hearing >After you learn Ear Training you can... “Hear it once and PLAY IT- plus WRITE the CHART” >Learn this Vital Skill and you will become... a Better Player / a Faster Arranger / a Sharper Producer ...
... KNOW and instantly analyze what you are hearing >After you learn Ear Training you can... “Hear it once and PLAY IT- plus WRITE the CHART” >Learn this Vital Skill and you will become... a Better Player / a Faster Arranger / a Sharper Producer ...
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... (3:2)4 give us the next ascending perfect fifth (in our example, from “A” up to “E”), which works out to 81:16. But to find this pitch within our original “C” to “C” octave we must reduce it. When we reduced (3:2)2 to find our major second we reduced it by one octave, or 2:1. But here we must bring ...
... (3:2)4 give us the next ascending perfect fifth (in our example, from “A” up to “E”), which works out to 81:16. But to find this pitch within our original “C” to “C” octave we must reduce it. When we reduced (3:2)2 to find our major second we reduced it by one octave, or 2:1. But here we must bring ...
SEVENTH CHORDS Every triad can be extended by adding another
... minor (m) dominant (Mm) [fully] diminished (o) half-diminished (o| ) augmented (A) minor - major (mM) ...
... minor (m) dominant (Mm) [fully] diminished (o) half-diminished (o| ) augmented (A) minor - major (mM) ...
Pitch is directly related to frequency and my analysis of ragas is
... Our voice can produce several frequencies with the limitation of three or four octaves only. It is known that the frequency between any key and the key immediately to its left is a constant which is being equal to the twelfth root of two or 1.059. By the time we reached the thirteenth key, we have d ...
... Our voice can produce several frequencies with the limitation of three or four octaves only. It is known that the frequency between any key and the key immediately to its left is a constant which is being equal to the twelfth root of two or 1.059. By the time we reached the thirteenth key, we have d ...
12 Music Hacks
... in the west. Whether you’re working with a keyboard, guitar, voice, MIDI sequencer, or any other instrument, you’re already experiencing this tuning system. Equal temperament divides the octave into twelve equal steps, known as semitones. A semitone is the smallest space between notes in western mus ...
... in the west. Whether you’re working with a keyboard, guitar, voice, MIDI sequencer, or any other instrument, you’re already experiencing this tuning system. Equal temperament divides the octave into twelve equal steps, known as semitones. A semitone is the smallest space between notes in western mus ...
MATHEMUSIC – Numbers and Notes A Mathematical Approach To
... Mathematics and music are interconnected topics. “Music gives beauty and another dimension to mathematics by giving life and emotion to the numbers and patterns.” Mathematical concepts and equations are connected to the designs and shapes of musical instruments, scale intervals and musical compositi ...
... Mathematics and music are interconnected topics. “Music gives beauty and another dimension to mathematics by giving life and emotion to the numbers and patterns.” Mathematical concepts and equations are connected to the designs and shapes of musical instruments, scale intervals and musical compositi ...
"The Elements of Music"
... a melody. Combined with a specific rhythm, the pitch line forms the melody. • Contour = the shape of a melody, as determined by aspects of ...
... a melody. Combined with a specific rhythm, the pitch line forms the melody. • Contour = the shape of a melody, as determined by aspects of ...
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.