Jon Verbalis - Chopin`s Revolutionary Legacy-
... analysis of Chopin’s compositional key choice reveals that most of his works sport key signatures of four or more sharps or flats. Though key signatures are not sole indicators, in the world of chromatic harmony they readily imply specific tonal relationships and affinities nonetheless. In regard to ...
... analysis of Chopin’s compositional key choice reveals that most of his works sport key signatures of four or more sharps or flats. Though key signatures are not sole indicators, in the world of chromatic harmony they readily imply specific tonal relationships and affinities nonetheless. In regard to ...
Chapter 9 - eacfaculty.org
... Avoid crossing voices. Keep voices in proper order. Spacing between voices should not exceed an octave in the upper three voices. The spacing between the bass and the tenor can be any reasonable interval and should never exceed two octaves. Do not overlap voices more than a whole step. An overlap oc ...
... Avoid crossing voices. Keep voices in proper order. Spacing between voices should not exceed an octave in the upper three voices. The spacing between the bass and the tenor can be any reasonable interval and should never exceed two octaves. Do not overlap voices more than a whole step. An overlap oc ...
The Octatonic Scale Description, History, Application
... the mode 2 octatonic is created. By falling backwards by half-step into each note of a diminished seventh chord, the mode 1 octatonic is created. This implies that much of the early use of the octatonic comes from keyboard practice, as the tendency to embellish a melody shape by half step is a natur ...
... the mode 2 octatonic is created. By falling backwards by half-step into each note of a diminished seventh chord, the mode 1 octatonic is created. This implies that much of the early use of the octatonic comes from keyboard practice, as the tendency to embellish a melody shape by half step is a natur ...
Concert Band Week 9 Map Connections 3PP.1.b Describe the uses
... playing SW write a list of 5 items telling what they should think about while playing, elaborating on each point to show understanding Do Now: Key Signature review Pair share DOL: bass clef 2 worksheet Warmup Scales: F, Bb, Eb Whip around for “What should you think about while playing?” Golden Eagle ...
... playing SW write a list of 5 items telling what they should think about while playing, elaborating on each point to show understanding Do Now: Key Signature review Pair share DOL: bass clef 2 worksheet Warmup Scales: F, Bb, Eb Whip around for “What should you think about while playing?” Golden Eagle ...
Jerome of Moravia on the construction, range, and tuning
... Another tuning is necessary for secular performers and all other kinds of songs, especially “irregular” ones [presumably ones that don’t stay within the prescribed limits of range for each of the eight church modes] that frequently run up the entire [Guidonian] hand. In this tuning it is necessary t ...
... Another tuning is necessary for secular performers and all other kinds of songs, especially “irregular” ones [presumably ones that don’t stay within the prescribed limits of range for each of the eight church modes] that frequently run up the entire [Guidonian] hand. In this tuning it is necessary t ...
Pitch Perception
... • Heard from two tones of strong intensity • “Difference tone” is f2-f1 • When two tones are a fifth apart, the difference tone is 1 octave below f1 • Other tones made from 2f1-f2 and 3f1-2f2 • Thought to come from “nonlinear” distortion of the primary wave form stimulus in cochlea - the vibration o ...
... • Heard from two tones of strong intensity • “Difference tone” is f2-f1 • When two tones are a fifth apart, the difference tone is 1 octave below f1 • Other tones made from 2f1-f2 and 3f1-2f2 • Thought to come from “nonlinear” distortion of the primary wave form stimulus in cochlea - the vibration o ...
The Great Highland Bagpipe Plays in WHAT Key?
... • If the interval between two notes is a ratio of small integers, such as 2/1, 3/2, or 4/3, they sound good together — they are consonant rather than dissonant • The twelve-tone equal-tempered scale is the smallest equal-tempered scale that contains all seven of the basic consonant intervals to a go ...
... • If the interval between two notes is a ratio of small integers, such as 2/1, 3/2, or 4/3, they sound good together — they are consonant rather than dissonant • The twelve-tone equal-tempered scale is the smallest equal-tempered scale that contains all seven of the basic consonant intervals to a go ...
important overtones are higher
... • Heard from two tones of strong intensity • “Difference tone” is f2-f1 • When two tones are a fifth apart, the difference tone is 1 octave below f1 • Other tones made from 2f1-f2 and 3f1-2f2 • Thought to come from “nonlinear” distortion of the primary wave form stimulus in cochlea - the vibration o ...
... • Heard from two tones of strong intensity • “Difference tone” is f2-f1 • When two tones are a fifth apart, the difference tone is 1 octave below f1 • Other tones made from 2f1-f2 and 3f1-2f2 • Thought to come from “nonlinear” distortion of the primary wave form stimulus in cochlea - the vibration o ...
2014 Orchestra Curriculum Map Orchestra Curriculum Map
... Memorize the key signatures of : C, G, & D Major, A & D Minor Play in above key signatures Understand how key signatures relate to scales and repertoire Build a major scale: Rules! Parallel and Relative keys Natural half steps Use Half/Whole steps to better understand one’s instrument and improve in ...
... Memorize the key signatures of : C, G, & D Major, A & D Minor Play in above key signatures Understand how key signatures relate to scales and repertoire Build a major scale: Rules! Parallel and Relative keys Natural half steps Use Half/Whole steps to better understand one’s instrument and improve in ...
A Non-Pythagorean Musical Scale Based on Logarithms
... Difference tones and ideas for future compositions A beat frequency is a frequency defined as the absolute difference between two pitches sounded simultaneously; when this frequency is in the audible range and is perceived as a distinct pitch, it is called a difference tone. While audible beat frequ ...
... Difference tones and ideas for future compositions A beat frequency is a frequency defined as the absolute difference between two pitches sounded simultaneously; when this frequency is in the audible range and is perceived as a distinct pitch, it is called a difference tone. While audible beat frequ ...
Mathemusical Thought - LUC Sakai
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
Western music history, pitch salience, key profiles, and the origins of
... In a major or minor tonality: Tonic Third, fifth Tones of tonic triad Leading tone Diatonic tones Chromatic tones ...
... In a major or minor tonality: Tonic Third, fifth Tones of tonic triad Leading tone Diatonic tones Chromatic tones ...
List of musical symbols - paulandersonguitar.com
... the use of accidentals for many notes. If no key signature appears, the key is assumed to be C major/A minor, but can also signify a neutral key, employing individual accidentals as required for each note. The key signature examples shown here are described as they would appear on a treble staff. Fl ...
... the use of accidentals for many notes. If no key signature appears, the key is assumed to be C major/A minor, but can also signify a neutral key, employing individual accidentals as required for each note. The key signature examples shown here are described as they would appear on a treble staff. Fl ...
eVirtuoso-Online Lessons Scales Lesson 2
... Recall that the first mode is the major scale and the sixth mode is the minor scale. To find the relative minor scale from a major scale, use the major scale’s sixth step note as the minor scale’s root or tonic note. To find the relative major scale from a minor scale, use the minor scale’s third st ...
... Recall that the first mode is the major scale and the sixth mode is the minor scale. To find the relative minor scale from a major scale, use the major scale’s sixth step note as the minor scale’s root or tonic note. To find the relative major scale from a minor scale, use the minor scale’s third st ...
Non-chord Tones
... Non-chord tones • Non-chord tones (non-harmonic tones) are parts of a melody that are not part of the harmony • They can be found in any voice and are used to embellish the music • They may be accented (on a downbeat) or unaccented (on an upbeat) • Three parts: Preparation (note before), NCT, resol ...
... Non-chord tones • Non-chord tones (non-harmonic tones) are parts of a melody that are not part of the harmony • They can be found in any voice and are used to embellish the music • They may be accented (on a downbeat) or unaccented (on an upbeat) • Three parts: Preparation (note before), NCT, resol ...
rudiments of music
... What are Time-signatures, and what do they show? What does the upper figure of a Time-signature tell ? What does the lower figure of a Time-signature tell ? Name the upper figure used in (a) Duple Time; in (b) Triple Time; and in (c) Quadruple Time. Name the kind of note of which the lower figure is ...
... What are Time-signatures, and what do they show? What does the upper figure of a Time-signature tell ? What does the lower figure of a Time-signature tell ? Name the upper figure used in (a) Duple Time; in (b) Triple Time; and in (c) Quadruple Time. Name the kind of note of which the lower figure is ...
Reharmonization as Process in Fauré`s Prelude Op. 103, No. 3
... transposed up by half step. The melody of each pattern combines the top tetrachord of one minor scale with the bottom tetrachord of the minor scale a half step higher; as a result, the melody of each pattern contains seven out of eight notes of an octatonic scale. In the first pattern, for instance, ...
... transposed up by half step. The melody of each pattern combines the top tetrachord of one minor scale with the bottom tetrachord of the minor scale a half step higher; as a result, the melody of each pattern contains seven out of eight notes of an octatonic scale. In the first pattern, for instance, ...
GLOSSARY
... For reasons of musical purity, we tune all of our products to an ancient system known as just intonation. Therefore, many of the notes used on Woodstock Chimes fall between the notes of the piano which is tuned to a modern system called equal temperament. This makes our products not only authentic w ...
... For reasons of musical purity, we tune all of our products to an ancient system known as just intonation. Therefore, many of the notes used on Woodstock Chimes fall between the notes of the piano which is tuned to a modern system called equal temperament. This makes our products not only authentic w ...
Notes - Stanford University
... notation into statements about the physical waves that make up the sound. The first and last notes of the example are “A above middle C”, which refers to the pitch of the note, a musical term for the frequency of the sound wave. This A above middle C has a frequency of 440Hz, and it is common to see ...
... notation into statements about the physical waves that make up the sound. The first and last notes of the example are “A above middle C”, which refers to the pitch of the note, a musical term for the frequency of the sound wave. This A above middle C has a frequency of 440Hz, and it is common to see ...
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) = ...
The Mathematics of Musical Instruments
... section, we use the willow flute as the jumping-off point for a discussion of scale construction. The willow flute’s playing scale is appealing mathematically because each ratio of frequencies within the scale can be expressed as a ratio of small integers. And, since the music traditionally played o ...
... section, we use the willow flute as the jumping-off point for a discussion of scale construction. The willow flute’s playing scale is appealing mathematically because each ratio of frequencies within the scale can be expressed as a ratio of small integers. And, since the music traditionally played o ...
Full CD Booklet
... the main harmonic unit of the Etude, which also makes melodic use of the division of an octave into five equal parts. 19 notes: This tuning contains diatonic scales in which the major second spans three chromatic degrees, and the minor second two. Triads are smooth, but the scale sounds slightly out ...
... the main harmonic unit of the Etude, which also makes melodic use of the division of an octave into five equal parts. 19 notes: This tuning contains diatonic scales in which the major second spans three chromatic degrees, and the minor second two. Triads are smooth, but the scale sounds slightly out ...
Supporting Materials - Melody, Rhythm, Accompaniment
... Or££, Carl, and Gunild Keetman. Orff-Schulwerk: Music for Children. English version adapted by Margaret Murray. 5 vols. London: Schott and Co. Ltd., 1958-1966. ___ . Orff-Schulwerk: Paralipomena. Mainz: B. Schott's Sohne, 1977. ...
... Or££, Carl, and Gunild Keetman. Orff-Schulwerk: Music for Children. English version adapted by Margaret Murray. 5 vols. London: Schott and Co. Ltd., 1958-1966. ___ . Orff-Schulwerk: Paralipomena. Mainz: B. Schott's Sohne, 1977. ...
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.