the fundamental principles of harmony
... Over the course of my long teaching career, I have noticed that the usual study of Harmony « at the desk » (that is, away from the piano) has proven ineffectual for most students. Students often lack the sufficient mastery of solfège required to read the traditional harmony exercise displayed in fou ...
... Over the course of my long teaching career, I have noticed that the usual study of Harmony « at the desk » (that is, away from the piano) has proven ineffectual for most students. Students often lack the sufficient mastery of solfège required to read the traditional harmony exercise displayed in fou ...
Document
... C, C#, D, D#, E, F, F#, G, G#, A, A#, B Note that C7dim is the same as D#7dim, F#7dim and A7dim. This is an ambiguous chord and can resolve into many possible chords. There are only 4 diminished 7th chords. ...
... C, C#, D, D#, E, F, F#, G, G#, A, A#, B Note that C7dim is the same as D#7dim, F#7dim and A7dim. This is an ambiguous chord and can resolve into many possible chords. There are only 4 diminished 7th chords. ...
The Line of Fifths
... octave equivalence: any two notes one or more octaves apart are members of the same category. But the pitch-class idea also entails another kind of equivalence, that is, enharmonic equivalence: any two notes of the same pitch belong to the same category. The assumptions of octave and enharmonic equi ...
... octave equivalence: any two notes one or more octaves apart are members of the same category. But the pitch-class idea also entails another kind of equivalence, that is, enharmonic equivalence: any two notes of the same pitch belong to the same category. The assumptions of octave and enharmonic equi ...
Justin`s Quick Guide to Basic Music Theory and Playing by Ear
... up and down and do a happy dance. If not, you will need to put some more time into analyzing it. Recognition of keys takes practice. With enough practice, you will be able to tell the difference between your car keys and your house keys in a jiffy! (wait…nevermind). Those tricky musicians will somet ...
... up and down and do a happy dance. If not, you will need to put some more time into analyzing it. Recognition of keys takes practice. With enough practice, you will be able to tell the difference between your car keys and your house keys in a jiffy! (wait…nevermind). Those tricky musicians will somet ...
File - Harris Ac Music
... mystery, and the pentatonic scale has a light, clean feel. It is commonly found in Scottish music and the music of many other cultures. In this unit, you will learn to analyse major and minor (harmonic and melodic) scales. The knowledge you gain from this analytical approach will provide you with a ...
... mystery, and the pentatonic scale has a light, clean feel. It is commonly found in Scottish music and the music of many other cultures. In this unit, you will learn to analyse major and minor (harmonic and melodic) scales. The knowledge you gain from this analytical approach will provide you with a ...
File - Oak Bay Band
... The strategy for practicing this skill area is to listen carefully to the division of each beat within each two-bar sample. The samples you’ll be given will always be played three times. A helpful approach is to… - use the first time through to analyze the first measure - use the second time through ...
... The strategy for practicing this skill area is to listen carefully to the division of each beat within each two-bar sample. The samples you’ll be given will always be played three times. A helpful approach is to… - use the first time through to analyze the first measure - use the second time through ...
Pitch-Class Set Theory 1
... sets on the circle yourself. As we know, this is a symmetrical chord; each note is a major third away from the others. (Note, though, that the “major third” from F# to Bb is spelled as a diminished fourth; problems like this always arise with traditional spellings of symmetrical chords. Using number ...
... sets on the circle yourself. As we know, this is a symmetrical chord; each note is a major third away from the others. (Note, though, that the “major third” from F# to Bb is spelled as a diminished fourth; problems like this always arise with traditional spellings of symmetrical chords. Using number ...
A PRACTICAL GLOSSARY for Twentieth
... diatonic scale without regard to the usual functional relationships or traditional treatment of dissonance. pentachord — any collection of five distinct pitch classes. pentatonic scale — literally, a scale with five notes per octave. The name is used specifically to refer to a scale composed exclusi ...
... diatonic scale without regard to the usual functional relationships or traditional treatment of dissonance. pentachord — any collection of five distinct pitch classes. pentatonic scale — literally, a scale with five notes per octave. The name is used specifically to refer to a scale composed exclusi ...
Systems of pitch relations: scales, tunings
... more in tune than others, but all can be used. This phenomenon gives rise to infinite shades of key-colors, which are lost in the modern standard version: 12 tone equal temperament (12-TET). Unlike Meantone temperament, which alters the fifth to temper out the Syntonic comma, 12-TET tempers out the Py ...
... more in tune than others, but all can be used. This phenomenon gives rise to infinite shades of key-colors, which are lost in the modern standard version: 12 tone equal temperament (12-TET). Unlike Meantone temperament, which alters the fifth to temper out the Syntonic comma, 12-TET tempers out the Py ...
class9#
... Consider the behavior of G# and Ab (same music-level pitch in C major. G# will be usually part of a transposition to A major (A) or A minor (Am), so it will function as a leading tone to A. Ab will probably be part of a modulation to Fm or Eb. it will go down to G. Ab and G# are not part of C, so th ...
... Consider the behavior of G# and Ab (same music-level pitch in C major. G# will be usually part of a transposition to A major (A) or A minor (Am), so it will function as a leading tone to A. Ab will probably be part of a modulation to Fm or Eb. it will go down to G. Ab and G# are not part of C, so th ...
Foulk - Western Michigan University
... Recognizing and Performing Intervals a list of melodies to help you learn to recognize and remember intervals collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
... Recognizing and Performing Intervals a list of melodies to help you learn to recognize and remember intervals collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
Intonation, Tuning, and Blending
... 3. Blending: (verb) (general)To mix in order to obtain a particular kind or quality; to have no perceptible separation. (music) The act of altering one’s tone color, vibrato, articulation, and style to match one or more sounds. ...
... 3. Blending: (verb) (general)To mix in order to obtain a particular kind or quality; to have no perceptible separation. (music) The act of altering one’s tone color, vibrato, articulation, and style to match one or more sounds. ...
Musical Acoustics Interval, Scales, Tuning and Temperament
... • Nonmusicians do not notice the smaller increase in pitch when going from “Me” to “Fa” and from “Ti” to “Do.” • 7 different notes in the Pythagorean scale (8 including last note, which is one diapson higher than the first note, and thus essentially the same sound as the first). • The eighth note ...
... • Nonmusicians do not notice the smaller increase in pitch when going from “Me” to “Fa” and from “Ti” to “Do.” • 7 different notes in the Pythagorean scale (8 including last note, which is one diapson higher than the first note, and thus essentially the same sound as the first). • The eighth note ...
Read More About Melody - Seycove Music Composition
... • These are five-‐note scales. They can be any five notes within an octave, but most commonly they are 1, 2, 3, 5 and 6 of a major scale. • An easy way to see a pentatonic scale on the ...
... • These are five-‐note scales. They can be any five notes within an octave, but most commonly they are 1, 2, 3, 5 and 6 of a major scale. • An easy way to see a pentatonic scale on the ...
Theory 9-26 - Introduction to Music Theory
... same scale degrees, regardless of what key you are in. When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so it can be played by an instrument in a di ...
... same scale degrees, regardless of what key you are in. When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so it can be played by an instrument in a di ...
BASIC MATHEMATICAL AND MUSICAL CONCEPTS Sets and
... by using the terms “positive “ and “negative” (or “plus” and “minus”). The interval from C4 to E3 could be described as down a minor sixth, or as negative a minor sixth. Octave Equivalence. Music notation and terminology often takes a view which identifies notes that are octaves apart. In this scenar ...
... by using the terms “positive “ and “negative” (or “plus” and “minus”). The interval from C4 to E3 could be described as down a minor sixth, or as negative a minor sixth. Octave Equivalence. Music notation and terminology often takes a view which identifies notes that are octaves apart. In this scenar ...
File - Mr. Deininger`s Page
... 4. Never double a tendency tone. This guideline applies most frequently to the leading tone of the key (7) and to the seventh of the dominant seventh chord (4), but includes any tones that must be resolved, such as chromatic passing tones and altered tones. ...
... 4. Never double a tendency tone. This guideline applies most frequently to the leading tone of the key (7) and to the seventh of the dominant seventh chord (4), but includes any tones that must be resolved, such as chromatic passing tones and altered tones. ...
FREE - James Buckham
... diatonic harmony, a series of these pitches are selected and defined as diatonic notes, all others are chromatic notes. The selection of these pitches is defined by establishing a root or fundamental note and selecting notes in a series of whole steps and half steps which remains constant, no matter ...
... diatonic harmony, a series of these pitches are selected and defined as diatonic notes, all others are chromatic notes. The selection of these pitches is defined by establishing a root or fundamental note and selecting notes in a series of whole steps and half steps which remains constant, no matter ...
Tippett - Concerto for Double String Orchestra movement I (Harmony)
... harmony. The most important functions of the chords are subdominant, dominant, and tonic (S, D, T). They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well. ...
... harmony. The most important functions of the chords are subdominant, dominant, and tonic (S, D, T). They are usually represented by scale degrees II/IV, V, and I, but other degrees can be substituted for them as well. ...
MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 – HARMONY Introduction
... Chord V and the Tritone Anyway, back to the importance of the Dominant 7 chord (chord V7). The power of the chord lies not in the root note, but in its third and seventh. Let’s go back to working in C major. Chord V is a G dominant 7. The third of this chord is a B and the seventh is an F. The gap b ...
... Chord V and the Tritone Anyway, back to the importance of the Dominant 7 chord (chord V7). The power of the chord lies not in the root note, but in its third and seventh. Let’s go back to working in C major. Chord V is a G dominant 7. The third of this chord is a B and the seventh is an F. The gap b ...
HARMONIC ANALYSIS for Scale Selection and Chord Substitution BY CURT SHELLER
... The first chord, a Dm7 is in both the major and minor charts. In a major tonality it’s a II chord in the key of C, a III chord in the key of Bb and a VI chord in the key of F. In a minor tonality it’s a I chord in the key of D minor and a IV chord in the key of A minor. The second chord, G7 is found ...
... The first chord, a Dm7 is in both the major and minor charts. In a major tonality it’s a II chord in the key of C, a III chord in the key of Bb and a VI chord in the key of F. In a minor tonality it’s a I chord in the key of D minor and a IV chord in the key of A minor. The second chord, G7 is found ...
Lesson XXX: Major Keys and Key Signatures
... The key signature is a collection of sharps or flats that indicates which notes should be raised or lowered so that they belong to the key. In C major, there are no sharps or flats in the key signature, just as there are no sharps or flats in the C major scale. In keys other than C major, the key si ...
... The key signature is a collection of sharps or flats that indicates which notes should be raised or lowered so that they belong to the key. In C major, there are no sharps or flats in the key signature, just as there are no sharps or flats in the C major scale. In keys other than C major, the key si ...
The 7-4-2 chord in early Italian recitative
... be 8-5-3). The 7th is always a raised seventh, even though this is frequently not notated either. Despite the potentially confusing notation, this progression is not difficult to play. In modern terms, the 7-4-2 can be thought of as a dominant 7th chord played with the tonic note in the bass. It is ...
... be 8-5-3). The 7th is always a raised seventh, even though this is frequently not notated either. Despite the potentially confusing notation, this progression is not difficult to play. In modern terms, the 7-4-2 can be thought of as a dominant 7th chord played with the tonic note in the bass. It is ...
How to Play the Chromatic Scale
... chromatic scale can be easily represented by what we call the chromatic number line: ...
... chromatic scale can be easily represented by what we call the chromatic number line: ...
lhs music theory final exam review sheet
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
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.