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. ...
Solfege - Practice - 101
... • To directly relate the scale degrees to the Solfege syllables • To directly relate the Solfege syllables to the scale degrees • To relate the pitch relative to the tonic to the Solfege syllable • To relate the notes within each major scale pattern to the Solfege syllable and the sounds they repres ...
... • To directly relate the scale degrees to the Solfege syllables • To directly relate the Solfege syllables to the scale degrees • To relate the pitch relative to the tonic to the Solfege syllable • To relate the notes within each major scale pattern to the Solfege syllable and the sounds they repres ...
The History and Evolution of the Musical Symbol
... pitch. The scale most used in Western musical composition until the end of the 19th cent. was the diatonic scale, a series of seven tones. (The addition of a final top note, with a frequency twice that of the lowest note, defines this sequence as an octave.) The intervals of the diatonic scale were ...
... pitch. The scale most used in Western musical composition until the end of the 19th cent. was the diatonic scale, a series of seven tones. (The addition of a final top note, with a frequency twice that of the lowest note, defines this sequence as an octave.) The intervals of the diatonic scale were ...
From Pythagoras to Johann Sebastian Bach: An
... that allows humans to reach ultimate happiness, not a spiritual relationship with God. This return to ancient worldviews is echoed in the construction of the forty-eight preludes and fugues of Bach’s Well-Tempered Clavier. In comparison, Bach’s First Invention, BWV 772, is much like the consistency ...
... that allows humans to reach ultimate happiness, not a spiritual relationship with God. This return to ancient worldviews is echoed in the construction of the forty-eight preludes and fugues of Bach’s Well-Tempered Clavier. In comparison, Bach’s First Invention, BWV 772, is much like the consistency ...
Schedule
... Music: Demonstrate an understanding of the materials and processes of music in a range of scores (90269) Evidence Statement Each question part should be marked holistically. If the candidate does not quite meet the requirement for Achievement or Merit, then the marker may look for evidence from a hi ...
... Music: Demonstrate an understanding of the materials and processes of music in a range of scores (90269) Evidence Statement Each question part should be marked holistically. If the candidate does not quite meet the requirement for Achievement or Merit, then the marker may look for evidence from a hi ...
Assessment Schedule – 2011
... monophonic texture of the unison voices) - the piano LH has drumlike dotted figures and trills that intersperse the notes of the vocal ...
... monophonic texture of the unison voices) - the piano LH has drumlike dotted figures and trills that intersperse the notes of the vocal ...
The Lydian Mode - Fundamental Changes
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
324KB - NZQA
... (iii) Identify the relationship of the new key to the tonic key of B minor (eg “relative major”). ...
... (iii) Identify the relationship of the new key to the tonic key of B minor (eg “relative major”). ...
Chapter 8 Intervals - G Major Music Theory
... • Intervals have two names, a general name and a specific name. • The general name is usually an ordinal number (2nd, 3rd, 4th and so on). • To find the general name of an interval, call the bottom note “one” and count the lines and spaces to the top note. Remember to count both the bottom and the t ...
... • Intervals have two names, a general name and a specific name. • The general name is usually an ordinal number (2nd, 3rd, 4th and so on). • To find the general name of an interval, call the bottom note “one” and count the lines and spaces to the top note. Remember to count both the bottom and the t ...
FUNDAMENTAL HARMONY Chromatically
... • In minor keys, chords iio and viio are naturally occurring diminished triads, so it’s easy to make them into diminished 7th chords by adding a diminished 7th above the bass note. ...
... • In minor keys, chords iio and viio are naturally occurring diminished triads, so it’s easy to make them into diminished 7th chords by adding a diminished 7th above the bass note. ...
NON-SERIAL ATONALITY ATONAL MUSIC
... (e.g., Bb and A#) are also functionally equivalent integer notation -- the naming of the 12 pitch classes by numbers 0-11 (C-B respectively); a type of "fixed do" notation; use numbers so that we can add and subtract intervals (to transpose a melody or sequence of notes to another pitch level). mod( ...
... (e.g., Bb and A#) are also functionally equivalent integer notation -- the naming of the 12 pitch classes by numbers 0-11 (C-B respectively); a type of "fixed do" notation; use numbers so that we can add and subtract intervals (to transpose a melody or sequence of notes to another pitch level). mod( ...
Just Intonation Explained
... have noticed it has a wow-wow-wow growl to it, which you can hear in isolation here, that explains why such fifths have always been called "wolf" intervals. (Here you can hear it contrasted with a simpler 3/2 fifth.) You might occasionally want that sound for a scary moment, but you generally can't ...
... have noticed it has a wow-wow-wow growl to it, which you can hear in isolation here, that explains why such fifths have always been called "wolf" intervals. (Here you can hear it contrasted with a simpler 3/2 fifth.) You might occasionally want that sound for a scary moment, but you generally can't ...
“Hawaiian Skies” … (continued)
... The two basic songs included in the second half of Figure 1 combine various elements of the style. He`eia is a traditional song from the late 1800s about the last Hawaiian King David Kalakaua and his love of surfing. It follows a steady rhythmic pulse rooted in oli, or ancient Hawaiian chant. Perc ...
... The two basic songs included in the second half of Figure 1 combine various elements of the style. He`eia is a traditional song from the late 1800s about the last Hawaiian King David Kalakaua and his love of surfing. It follows a steady rhythmic pulse rooted in oli, or ancient Hawaiian chant. Perc ...
1 Consonance and Dissonance in Theory, Practice and Science
... seems to be a trade-off between pitch commonality and pitch proximity: If the pitch commonality between successive sonorities is high, their pitch proximity can be low, and vice-versa. So for example it is more important to adhere to conventions of voice leading in complex chromatic progressions th ...
... seems to be a trade-off between pitch commonality and pitch proximity: If the pitch commonality between successive sonorities is high, their pitch proximity can be low, and vice-versa. So for example it is more important to adhere to conventions of voice leading in complex chromatic progressions th ...
- MusicTeachers.co.uk
... evident in his mature piano works written after 1900, with their exploration of the instrument's percussive bell- and gong-like sonorities. Harmonically, Debussy's music incorporates both modality and tonality (earlier French composers such as Fauré had used modal aspects in their works) and he is r ...
... evident in his mature piano works written after 1900, with their exploration of the instrument's percussive bell- and gong-like sonorities. Harmonically, Debussy's music incorporates both modality and tonality (earlier French composers such as Fauré had used modal aspects in their works) and he is r ...
AP THEORY_files/Notation
... • A dot lengthens the note by half its value • A double dot lengthens the note by half the value of the ...
... • A dot lengthens the note by half its value • A double dot lengthens the note by half the value of the ...
Ben Johnston Pantonality Generalized
... their deliberate blurriness. By allowing pitches of flexible instruments to drift around by about a comma (1/8 tone) while nominally distinguishing spelling, 12 inflected tones could suffice to approximate 24 major and minor modes. Musicians were expected to understand and apply subtleties of intona ...
... their deliberate blurriness. By allowing pitches of flexible instruments to drift around by about a comma (1/8 tone) while nominally distinguishing spelling, 12 inflected tones could suffice to approximate 24 major and minor modes. Musicians were expected to understand and apply subtleties of intona ...
A Periodicity-Based Approach on Harmony Perception Including
... but also by the psychophysics of tone perception (Langner, 2007; Parncutt, 1989; Roederer, 2008). Thus, in order to better understand the process of musical creativity, the following questions should be addressed: 1. What are underlying (psychophysical) principles of music perception? 2. How can the ...
... but also by the psychophysics of tone perception (Langner, 2007; Parncutt, 1989; Roederer, 2008). Thus, in order to better understand the process of musical creativity, the following questions should be addressed: 1. What are underlying (psychophysical) principles of music perception? 2. How can the ...
Seeing Music, Hearing Waves - Illuminations
... second, or Hertz (Hz). The notes on a piano keyboard form a chromatic scale. A chromatic scale divides the octave into its semitones. There are twelve semitones, or half steps, to an octave in the chromatic scale. The white keys on a keyboard are A, B, C, D, E, F, and G. The black keys are named rel ...
... second, or Hertz (Hz). The notes on a piano keyboard form a chromatic scale. A chromatic scale divides the octave into its semitones. There are twelve semitones, or half steps, to an octave in the chromatic scale. The white keys on a keyboard are A, B, C, D, E, F, and G. The black keys are named rel ...
A Few Notes on the Piano Works of Luca Lombardi
... signals, and tangible signs of a repetitive structure”. Obviously there are various ways of bringing back certain worn-out traditions, while at the same time keeping in mind that what counts is the quality of the product and not its “tendency”. However, I think Luca Lombardi’s “way” is one of the mo ...
... signals, and tangible signs of a repetitive structure”. Obviously there are various ways of bringing back certain worn-out traditions, while at the same time keeping in mind that what counts is the quality of the product and not its “tendency”. However, I think Luca Lombardi’s “way” is one of the mo ...
Music Terms and Symbols Music Terms and Symbols
... 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. Flat key signature Lowers by ...
... 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. Flat key signature Lowers by ...
a PDF version of this work.
... uses tones outside of the background tonic chord. Additional uses of passing tones and accented passing tones are found in measure 132 where there is a line that moves chromatically up from D #5 to F #5. In this instance, non-harmonic tones are used to project the melody, which takes precedence over ...
... uses tones outside of the background tonic chord. Additional uses of passing tones and accented passing tones are found in measure 132 where there is a line that moves chromatically up from D #5 to F #5. In this instance, non-harmonic tones are used to project the melody, which takes precedence over ...
Complete Appendices
... Melody The horizontal succession of pitches. Additional elements include rhythm and the shape or contour formed by ascending or descending pitches. Meter The recurring division of the pulse into a pattern of strong and weak beats; for example, duple, triple or quadruple. Mezzo forte (mf) It. A dynam ...
... Melody The horizontal succession of pitches. Additional elements include rhythm and the shape or contour formed by ascending or descending pitches. Meter The recurring division of the pulse into a pattern of strong and weak beats; for example, duple, triple or quadruple. Mezzo forte (mf) It. A dynam ...
Semantic manual - Semantic Daniélou
... 12 white and black keys par octave borrowed by the original Semantic, while displaying a continuous succession of commas vertically. The hexagonal keys here have the advantage of making the difference between major tones (9/8) and minor tones (10/9) explicit, being tempered to one unique value in th ...
... 12 white and black keys par octave borrowed by the original Semantic, while displaying a continuous succession of commas vertically. The hexagonal keys here have the advantage of making the difference between major tones (9/8) and minor tones (10/9) explicit, being tempered to one unique value in th ...
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.