“Eric Whitacre Sleep” Analysis
... • Pedal Notes: Whitacre starts this piece with two bars of conventional, root position chords. At b.3 we see the appearance of one of Whitacre’s trademark devices: pedal notes (pitches that are repeated unchanged while the harmony around them changes). These pedal notes result in suspensions (a diss ...
... • Pedal Notes: Whitacre starts this piece with two bars of conventional, root position chords. At b.3 we see the appearance of one of Whitacre’s trademark devices: pedal notes (pitches that are repeated unchanged while the harmony around them changes). These pedal notes result in suspensions (a diss ...
HERE - NWSS Music
... 79. Rubato: relates to tempo, when a strict tempo is temporarily abandoned for a more flexible, emotional response to time, melody and harmony 80. scale degree: a number assigned to each note of a major scale. For example, the first note would be 1, the second 2, the third 3... 81. staccato: short d ...
... 79. Rubato: relates to tempo, when a strict tempo is temporarily abandoned for a more flexible, emotional response to time, melody and harmony 80. scale degree: a number assigned to each note of a major scale. For example, the first note would be 1, the second 2, the third 3... 81. staccato: short d ...
File - Bill Troxler
... Scales arrange their pitches in a specific order Number In theory there is no limit to the number of pitch divisions that can be applied to an octave. The number of divisions used in Western music ranges from five to twelve. Experimental work is being done with as many as 31 divisions. Indian classi ...
... Scales arrange their pitches in a specific order Number In theory there is no limit to the number of pitch divisions that can be applied to an octave. The number of divisions used in Western music ranges from five to twelve. Experimental work is being done with as many as 31 divisions. Indian classi ...
Voice-Leading Guidelines:
... chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at a cadence. Passing: The bass steps up (or down) over the three notes. Therefore, the 6-4 ...
... chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at a cadence. Passing: The bass steps up (or down) over the three notes. Therefore, the 6-4 ...
Diatonic Modes
... practical manner similar to the transposition method advocated below. 1. Non-transposed method. Each mode begins on a different scale degree throughout an octave of white keys on the piano. Although seemingly simple, this method does not teach transposition, relative quality, or color comparisons. I ...
... practical manner similar to the transposition method advocated below. 1. Non-transposed method. Each mode begins on a different scale degree throughout an octave of white keys on the piano. Although seemingly simple, this method does not teach transposition, relative quality, or color comparisons. I ...
Lesson_LLL_-_Mixture..
... quality, using “iv” instead of “IV.” To further accommodate the changes brought about by borrowing from the parallel mode, accidentals are also used in conjunction with Roman numerals. An accidental before a Roman numeral indicates an altered root: Example LLL.05 (J.S. Bach, BWV 90.5, “Vater unser i ...
... quality, using “iv” instead of “IV.” To further accommodate the changes brought about by borrowing from the parallel mode, accidentals are also used in conjunction with Roman numerals. An accidental before a Roman numeral indicates an altered root: Example LLL.05 (J.S. Bach, BWV 90.5, “Vater unser i ...
Lecture 5
... as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices A piece's texture may be affected by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmony, tem ...
... as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices A piece's texture may be affected by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmony, tem ...
Triads
... The numbers used with the Roman numerals for analysis can be used by themselves in a system that is called basso continuo or figured bass. This system of writing a bass line with figures underneath developed in the early baroque period, sometime around 1600 and following. It is a shorthand system th ...
... The numbers used with the Roman numerals for analysis can be used by themselves in a system that is called basso continuo or figured bass. This system of writing a bass line with figures underneath developed in the early baroque period, sometime around 1600 and following. It is a shorthand system th ...
Symphony no - Life Learning Cloud
... octaves, taking the tune from the strings. Bar 16 strong woodwind chords with a dominant pedal. Dominant is the 5th note of a scale. (D is the dominant in the key of G minor.) ...
... octaves, taking the tune from the strings. Bar 16 strong woodwind chords with a dominant pedal. Dominant is the 5th note of a scale. (D is the dominant in the key of G minor.) ...
rtf
... note on the piano keyboard is called C0 and has a frequency of 16 Hz; it is followed by the notes D0 E0 ... The next C note reached (the eighth white key after the first) begins the next octave and is termed C1; it has a frequency twice that of C0, i.e., 32 Hz. The highest note on an ordinary piano ...
... note on the piano keyboard is called C0 and has a frequency of 16 Hz; it is followed by the notes D0 E0 ... The next C note reached (the eighth white key after the first) begins the next octave and is termed C1; it has a frequency twice that of C0, i.e., 32 Hz. The highest note on an ordinary piano ...
Qualia as intervening variables in the understanding of music cognition
... often for melodies make use of just 7 of those 12 pitch classes (“do–re– mi–fa–sol–la–ti”). The other 5 pitch classes are excluded from that scale, and from the key (the tonality) it represents. That contrast between the 7 pitches in a key and the 5 pitches outside the key is a very strong one, and ...
... often for melodies make use of just 7 of those 12 pitch classes (“do–re– mi–fa–sol–la–ti”). The other 5 pitch classes are excluded from that scale, and from the key (the tonality) it represents. That contrast between the 7 pitches in a key and the 5 pitches outside the key is a very strong one, and ...
A Musical Scale Generated from the Ratio of Consecutive Primes
... become gradually more complex as higher order primes are explored. In that sense, it is a musical exploration of the spacing of prime numbers. This paper focuses on a mathematical description of the musical scale on which the piece is based. The scale is related to the class of tuning systems called ...
... become gradually more complex as higher order primes are explored. In that sense, it is a musical exploration of the spacing of prime numbers. This paper focuses on a mathematical description of the musical scale on which the piece is based. The scale is related to the class of tuning systems called ...
Part 1 2016 AKFinal Assesment Winds
... languages such as Latin, German, French, and Italian are present in the musical repertoire. Trumpet players must know that the term “con sordino” means “with mute.” Percussion must know that the term “senza chimes” means “without chimes.” Singers must know that the term “dolce” means “sweetly.” ...
... languages such as Latin, German, French, and Italian are present in the musical repertoire. Trumpet players must know that the term “con sordino” means “with mute.” Percussion must know that the term “senza chimes” means “without chimes.” Singers must know that the term “dolce” means “sweetly.” ...
The Syntax of Music
... – The first chord locally relaxes into the second. – The second chord locally tenses into the third. – The fourth chord is the point of maximum tension, and is the first event origina
... – The first chord locally relaxes into the second. – The second chord locally tenses into the third. – The fourth chord is the point of maximum tension, and is the first event origina
Thomas A - Music at Thomas Edison
... heard in jazz music and the pentatonic scale is heard in American Folk Songs and folk songs from other cultures. The pentatonic scale only contains five notes and is found in music from all over the world. ...
... heard in jazz music and the pentatonic scale is heard in American Folk Songs and folk songs from other cultures. The pentatonic scale only contains five notes and is found in music from all over the world. ...
View printable PDF of 6.4 AdditionalContemporaryScales
... Octatonic scales = A scale of alternating whole steps and half steps. Octatonic scales may be h-W or W-h. A whole-half octatonic is also called a diminished scale. There are three distinct octatonic scales. ...
... Octatonic scales = A scale of alternating whole steps and half steps. Octatonic scales may be h-W or W-h. A whole-half octatonic is also called a diminished scale. There are three distinct octatonic scales. ...
Tonal Harmony Chapter 3 Introduction to Triads and Seventh
... Baroque keyboardist reading the figured bass followed the key signature Root position triad might be major, minor or diminished ...
... Baroque keyboardist reading the figured bass followed the key signature Root position triad might be major, minor or diminished ...
Cadences - AState.edu
... A cadence is a musical punctuation that signals the end of a section of music. Cadences mark formal seams and confirm the tonality. At a cadence there may be a break in the rhythmic flow as well as the reaching of a harmonic goal. A cadence usually consists of 2 chords. Cadences differ considerably ...
... A cadence is a musical punctuation that signals the end of a section of music. Cadences mark formal seams and confirm the tonality. At a cadence there may be a break in the rhythmic flow as well as the reaching of a harmonic goal. A cadence usually consists of 2 chords. Cadences differ considerably ...
Music Theory And Composition - Eastern Kentucky University
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
EKU Music Theory Study Guide - Music Theory And Composition
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
EKU Music Theory Study Guide with PAGE NUMBERS
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
dotted eighth notes - Introduction to Music Theory
... Perfect and major intervals are always diatonic intervals in all major keys. When the tonic and the upper note of an interval are NOT from the same major scale, it is called a chromatic interval. Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
... Perfect and major intervals are always diatonic intervals in all major keys. When the tonic and the upper note of an interval are NOT from the same major scale, it is called a chromatic interval. Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
dotted eighth notes - Introduction to Music Theory
... Perfect and major intervals are always diatonic intervals in all major keys. When the tonic and the upper note of an interval are NOT from the same major scale, it is called a chromatic interval. Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
... Perfect and major intervals are always diatonic intervals in all major keys. When the tonic and the upper note of an interval are NOT from the same major scale, it is called a chromatic interval. Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
Untitled document.docx
... Explain how three composers of the romantic era used programme music to great effect, referring to tonality and expressive use of resources. In Berlioz’s Symphonie Fantastique, the composer uses tonality for expressive purposes, to describe the many disturbing visions of an infatuated artist. The fi ...
... Explain how three composers of the romantic era used programme music to great effect, referring to tonality and expressive use of resources. In Berlioz’s Symphonie Fantastique, the composer uses tonality for expressive purposes, to describe the many disturbing visions of an infatuated artist. The fi ...
1 UNDERGRADUATE MUSIC THEORY PLACEMENT TEST
... The theory placement test is designed to determine whether you are ready to enroll in MUS 121 (Music Theory I) or whether you must first take MUS 120 (Theory Preparation). For the test, you need to be able to demonstrate the skills and knowledge listed below on page 2. To give you a clearer idea of ...
... The theory placement test is designed to determine whether you are ready to enroll in MUS 121 (Music Theory I) or whether you must first take MUS 120 (Theory Preparation). For the test, you need to be able to demonstrate the skills and knowledge listed below on page 2. To give you a clearer idea 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.