Prime Numbers in Music Tonality
... Music for the last several hundred years can be found within the 5-Limit system. However, although these ratios serve as the basis you will not actually find one in the current system. Tonality based on whole numbers has become known as Just Intonation, and although whole number interval ratios may ...
... Music for the last several hundred years can be found within the 5-Limit system. However, although these ratios serve as the basis you will not actually find one in the current system. Tonality based on whole numbers has become known as Just Intonation, and although whole number interval ratios may ...
Modern Notation for Plainchant
... The bar line normally implies a brief pause, at which a breath may be taken. The length of the pause depends on the text being sung, but the music should never come to a complete stop except at the end of a particular chant. (Rest marks are not normally used in our chant.) A double bar line marks ei ...
... The bar line normally implies a brief pause, at which a breath may be taken. The length of the pause depends on the text being sung, but the music should never come to a complete stop except at the end of a particular chant. (Rest marks are not normally used in our chant.) A double bar line marks ei ...
to read it in Microsoft Word
... point of the rules, after all, is to guide the improviser to the ultimate (and subjective) goal of consistently sounding good. ...
... point of the rules, after all, is to guide the improviser to the ultimate (and subjective) goal of consistently sounding good. ...
Quick reference guide to Musical Terms
... Instruction to remain silent The basic pulse of a piece of music A repeated group of beats The number of beats in a bar Symbol that specifices number and type of beats in the bar Curved line joining two notes together to create one longer note Increases length of note by 50% ...
... Instruction to remain silent The basic pulse of a piece of music A repeated group of beats The number of beats in a bar Symbol that specifices number and type of beats in the bar Curved line joining two notes together to create one longer note Increases length of note by 50% ...
view
... Helmholtz, Herman von. On the Sensations of Tone; translated by A. J. Ellis, 4th edition 1885 Reprint, New York: Dover Publication, 1954 Lindley, Mark: ‘Temperaments, 9. Fretted Instruments’ Grove Music Online ed. L. Macy (Accessed 24 January 2007), http://www.grovemusic.com ...
... Helmholtz, Herman von. On the Sensations of Tone; translated by A. J. Ellis, 4th edition 1885 Reprint, New York: Dover Publication, 1954 Lindley, Mark: ‘Temperaments, 9. Fretted Instruments’ Grove Music Online ed. L. Macy (Accessed 24 January 2007), http://www.grovemusic.com ...
Cyclic Organization in the `Chorale` of Charles Ives` Three Quarter
... consecutive notes in a cycle, though now the 5-cycle. Ives refers to these two chords as the major and the minor chords of the quarter-tone system, further mentioning that they could be expanded to their major and minor correlating scales without suggesting which scales these would be. At another po ...
... consecutive notes in a cycle, though now the 5-cycle. Ives refers to these two chords as the major and the minor chords of the quarter-tone system, further mentioning that they could be expanded to their major and minor correlating scales without suggesting which scales these would be. At another po ...
Music 160A class notes Dr. Rothfarb November 7, 2007 Binary vs
... Sonata form: • In a sense, covering sonata form after ternary form is a step backwards. This is because sonata form is rooted in binary form. On the other hand, the element of contrast is as important here as it is in ternary form. • The first section of a sonata form is open. It ends in the complem ...
... Sonata form: • In a sense, covering sonata form after ternary form is a step backwards. This is because sonata form is rooted in binary form. On the other hand, the element of contrast is as important here as it is in ternary form. • The first section of a sonata form is open. It ends in the complem ...
On Serial Music
... first. Indeed nearly all of his works break the rules at some time. If he felt that repeating a note before all twelve have been used would create a smoother line (see later for a discussion of this rule), he would. When writing a melody in a serial composition, he realised that structures such as ...
... first. Indeed nearly all of his works break the rules at some time. If he felt that repeating a note before all twelve have been used would create a smoother line (see later for a discussion of this rule), he would. When writing a melody in a serial composition, he realised that structures such as ...
Jennifer Lancaster
... Relative Pitch • Music has a key and tonal center For instance: C major C-D-E-F-G-A-B-C • The tonic of this scale is C • When this scale is played or a tone from it is given as a reference, people with RP can identify pitches from it ...
... Relative Pitch • Music has a key and tonal center For instance: C major C-D-E-F-G-A-B-C • The tonic of this scale is C • When this scale is played or a tone from it is given as a reference, people with RP can identify pitches from it ...
Music 181: Inversions of Intervals, Compound Intervals
... II. Compound intervals Any interval larger than an octave (8va) is a compound interval; intervals smaller than an octave are called simple intervals. Any compound interval can be reduced to a simple interval; in most musical contexts the compound interval and its simple counterpart are functionally ...
... II. Compound intervals Any interval larger than an octave (8va) is a compound interval; intervals smaller than an octave are called simple intervals. Any compound interval can be reduced to a simple interval; in most musical contexts the compound interval and its simple counterpart are functionally ...
chromatic scale
... The major scale is a scale of seven different pitch classes with whole steps separating adjacent tones, except for half steps between third and fourth and seventh and eighth. ...
... The major scale is a scale of seven different pitch classes with whole steps separating adjacent tones, except for half steps between third and fourth and seventh and eighth. ...
Scales and Temperament - Department of Physics and Astronomy
... 12-tone equal temperament is special in that it is the smallest division of the octave that does a reasonable job of approximating the just intervals we like to hear ...
... 12-tone equal temperament is special in that it is the smallest division of the octave that does a reasonable job of approximating the just intervals we like to hear ...
On Interpreting Bach - Engineering Class s
... – Limited to dead-pan performances; cannot account for phrasing and dynamics – Cannot distinguish meter with Subjects where all notes are the same length ...
... – Limited to dead-pan performances; cannot account for phrasing and dynamics – Cannot distinguish meter with Subjects where all notes are the same length ...
paper - Personal Web Pages
... ways they read it assume 12Tet. There is no standard for indicating the exact measurements in cents of pitch adjustments that deviate from 12Tet, yet some means of indication must be applied for the sake of musicians who would perform pitch-adjusted musical materials according to a notated musical s ...
... ways they read it assume 12Tet. There is no standard for indicating the exact measurements in cents of pitch adjustments that deviate from 12Tet, yet some means of indication must be applied for the sake of musicians who would perform pitch-adjusted musical materials according to a notated musical s ...
Introducing Musical STYLE newx
... • HOMOPHONIC (chordal) – one melody with accompaniment. The accompaniment is usually in chords, either block chords or broken chords. In ”block” chords, the notes are all played at the same time, then either held or repeated. Organs can hold repeated notes for an indefinite time, although on stringe ...
... • HOMOPHONIC (chordal) – one melody with accompaniment. The accompaniment is usually in chords, either block chords or broken chords. In ”block” chords, the notes are all played at the same time, then either held or repeated. Organs can hold repeated notes for an indefinite time, although on stringe ...
Whole tone scale
... The whole tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasized by the fact that triads built on such scale tones are augmented. Indeed, one can play al ...
... The whole tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasized by the fact that triads built on such scale tones are augmented. Indeed, one can play al ...
The Common-Tone Diminished Seventh Chord 7
... which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root o ...
... which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root o ...
Geometry of Harmony and Modes in Vaughan Williams` Romanza
... fugal combination of melodies played by the flutes, an oboe, clarinets in A, and English horn. These melodies are all in the E-Phrygian mode—due to emphasized starting notes of E and highest pitch notes of E. At measure 39, a very brief modal ambiguity occurs. This is where the harmony described in ...
... fugal combination of melodies played by the flutes, an oboe, clarinets in A, and English horn. These melodies are all in the E-Phrygian mode—due to emphasized starting notes of E and highest pitch notes of E. At measure 39, a very brief modal ambiguity occurs. This is where the harmony described in ...
Level 4 Workbook
... 2. Add accidentals to complete the Eb major scale. 3. Write primary triads above the appropriate notes. 4. Add Roman numerals below the primary triads. ...
... 2. Add accidentals to complete the Eb major scale. 3. Write primary triads above the appropriate notes. 4. Add Roman numerals below the primary triads. ...
NJCCS Elements of Music
... Quintuple meter, with 5 beats to the measure, and septuple meter, with 7 beats to the measure, occur frequently in twentieth-century music and are found occasionally in earlier music. Each of these meters combines duple and triple meter. In quintuple meter, for example, the measure is subdivided in ...
... Quintuple meter, with 5 beats to the measure, and septuple meter, with 7 beats to the measure, occur frequently in twentieth-century music and are found occasionally in earlier music. Each of these meters combines duple and triple meter. In quintuple meter, for example, the measure is subdivided in ...
63. Familia Valera Miranda Se quema la chumbamba
... The vocal refrain ‘Candela es’ is similar each time it occurs, beginning on either the third or fifth of the tonic chord in the first phrase, to land on an unprepared seventh (c) in the second bar. The second phrase begins on the supertonic, then leaps to the dominant before falling to the tonic. ...
... The vocal refrain ‘Candela es’ is similar each time it occurs, beginning on either the third or fifth of the tonic chord in the first phrase, to land on an unprepared seventh (c) in the second bar. The second phrase begins on the supertonic, then leaps to the dominant before falling to the tonic. ...
File
... indicate the bass positions of chords. We use numbers derived from the Baroque Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
... indicate the bass positions of chords. We use numbers derived from the Baroque Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
Higher Revision Booklet - Glow Blogs
... “…the ornament” = acciaccatura/mordent/trill “a ….. scale” = major/harmonic or melodic minor/chromatic/pentatonic/ whole tone ...
... “…the ornament” = acciaccatura/mordent/trill “a ….. scale” = major/harmonic or melodic minor/chromatic/pentatonic/ whole tone ...
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.