lecture16
... •In this case we have to consider the roughness between the fundamental notes as well as between the harmonics •This is what explains why some intervals are more consonant than others •In the case of the perfect fifth the two lower harmonics coincide and the two produce frequency differences within ...
... •In this case we have to consider the roughness between the fundamental notes as well as between the harmonics •This is what explains why some intervals are more consonant than others •In the case of the perfect fifth the two lower harmonics coincide and the two produce frequency differences within ...
Document
... ANTON WEBERN Third piece from Five Pieces for Orchestra What is theme? What is main idea? Is it a motive or melody? What seems to be the focus or main idea of this composition? ...
... ANTON WEBERN Third piece from Five Pieces for Orchestra What is theme? What is main idea? Is it a motive or melody? What seems to be the focus or main idea of this composition? ...
Sample Responses Q6 - AP Central
... 5. A chordal seventh approached by a descending leap. C. Award no points (0 points) for voice leading between two correctly realized chords (as defined in I.A.) if any of the following statements is true: 1. Parallel octaves, fifths or unisons occur (immediately successive or on successive beats), i ...
... 5. A chordal seventh approached by a descending leap. C. Award no points (0 points) for voice leading between two correctly realized chords (as defined in I.A.) if any of the following statements is true: 1. Parallel octaves, fifths or unisons occur (immediately successive or on successive beats), i ...
CHAPTER 1 TONAL MODULATION WITH JUST
... To calculate an ascending interval one must “add” the ratio of the interval to the ratio that describes the original pitch. The process for doing this is to multiply the numerator of the original pitch and the numerator of the interval, as well as the denominator of the original pitch and the denomi ...
... To calculate an ascending interval one must “add” the ratio of the interval to the ratio that describes the original pitch. The process for doing this is to multiply the numerator of the original pitch and the numerator of the interval, as well as the denominator of the original pitch and the denomi ...
MUSC 1000 Intro to Music
... notes, the notes are called FLATS – when we raise the notes – they are called SHARPS It is difficult to tell the exact key of a piece – however, it can be heard if a piece is in a major or minor sound – or TONALITY Very Simply – if the piece sounds happy – it is in major – sad is in minor. ...
... notes, the notes are called FLATS – when we raise the notes – they are called SHARPS It is difficult to tell the exact key of a piece – however, it can be heard if a piece is in a major or minor sound – or TONALITY Very Simply – if the piece sounds happy – it is in major – sad is in minor. ...
Music Ecademy Music Theory Curriculum CONTENTS
... ✓ Scales and key signatures of all major and minor keys ✓ Recognising and writing C, D, F or G pentatonic major scales, A, B, D or E pentatonic minor and A, B, D or E blues scales ✓ Understanding the concept of modes and identifying music written using the Aeolian mode (natural minor) Intervals ✓ Re ...
... ✓ Scales and key signatures of all major and minor keys ✓ Recognising and writing C, D, F or G pentatonic major scales, A, B, D or E pentatonic minor and A, B, D or E blues scales ✓ Understanding the concept of modes and identifying music written using the Aeolian mode (natural minor) Intervals ✓ Re ...
Chapter 15 - SFA Physics and Astronomy
... It becomes a game between the player and the listeners. Jazz has similar variations. ...
... It becomes a game between the player and the listeners. Jazz has similar variations. ...
1 Basic Tuning for the Autoharp Introduction Setting The Foundation
... Octave - multiples of a given frequency. An octave higher than a note is twice the frequency and an octave lower is one half the frequency. There are twelve half steps or chromatic semitones and seven diatonic steps in an octave interval. Chromatic - a scale having all twelve semitones in an octave, ...
... Octave - multiples of a given frequency. An octave higher than a note is twice the frequency and an octave lower is one half the frequency. There are twelve half steps or chromatic semitones and seven diatonic steps in an octave interval. Chromatic - a scale having all twelve semitones in an octave, ...
6th Grade Choir NAME__________________________ Quarter 1
... 3. Barline = those vertical lines that go through the staff to separate them into measures. ...
... 3. Barline = those vertical lines that go through the staff to separate them into measures. ...
Focus: Objectives: Key Vocabulary: Identify major and minor scales
... and minor scales using the given pattern of intervals. Understand the difference between tones and semitones. Perform a simple melody parts and fit their parts in with others. Compose a simple 8 bar melody using one key. Do all h/w Most pupils Perform parts confidently and with style and compose maj ...
... and minor scales using the given pattern of intervals. Understand the difference between tones and semitones. Perform a simple melody parts and fit their parts in with others. Compose a simple 8 bar melody using one key. Do all h/w Most pupils Perform parts confidently and with style and compose maj ...
Benward Chapter 6
... center must be chosen with care. When these tones are arranged in alphabetical order within the octave of the tonal center, the result is a scale. The tonal center (tonic) is always the first and last note of the scale in the well-known modern scales, major and minor. ...
... center must be chosen with care. When these tones are arranged in alphabetical order within the octave of the tonal center, the result is a scale. The tonal center (tonic) is always the first and last note of the scale in the well-known modern scales, major and minor. ...
Final - Stillwater Christian School
... 1. Music notation is written on a set of 5 lines and 4 spaces called a ______________. a. Notebook b. Rod c. Staff d. Cane 2. The job of the staff is to show notes as higher or lower in relation to one another. The highness or lowness of a musical tone is called _________________. a. Pitch b. Beat c ...
... 1. Music notation is written on a set of 5 lines and 4 spaces called a ______________. a. Notebook b. Rod c. Staff d. Cane 2. The job of the staff is to show notes as higher or lower in relation to one another. The highness or lowness of a musical tone is called _________________. a. Pitch b. Beat c ...
Handel: Chorus: `And the Glory of the Lord` from the oratorio
... Features of the Baroque style of music: Use of ornamented melodic parts Major/minor keys rather than modes. Diatonic (meaning notes/chords belonging to the key) chords (e.g. I, IV, V, II and VI) Basso continuo usually played by cello and supported by chords on the harpsichords/organ. Monophonic (a s ...
... Features of the Baroque style of music: Use of ornamented melodic parts Major/minor keys rather than modes. Diatonic (meaning notes/chords belonging to the key) chords (e.g. I, IV, V, II and VI) Basso continuo usually played by cello and supported by chords on the harpsichords/organ. Monophonic (a s ...
Glossary Commonly Used Musical Terms and
... bar line - A vertical line drawn across the staff t o indicate the end of a measure o f music and also the beginning of the following measure. beam - The line or lines connecting a group o f notes such as eighth notes and sixteenth notes. beat - The stress or pulse of music which may be f e l t by c ...
... bar line - A vertical line drawn across the staff t o indicate the end of a measure o f music and also the beginning of the following measure. beam - The line or lines connecting a group o f notes such as eighth notes and sixteenth notes. beat - The stress or pulse of music which may be f e l t by c ...
No 6: Tonality
... minor and changed into harmonic minor by sharpening the seventh note, and this is still common today. For several hundred years the ancient modes were rarely used but in the twentieth century they gradually came back into use in jazz and contemporary styles. Catholic and High Anglican churches kept ...
... minor and changed into harmonic minor by sharpening the seventh note, and this is still common today. For several hundred years the ancient modes were rarely used but in the twentieth century they gradually came back into use in jazz and contemporary styles. Catholic and High Anglican churches kept ...
Claude Debussy
... In the extract over the page the harmony is even more colourful with a rich texture created by horns and lower woodwind punctuated by a sparking intervention from pizzicato strings, harp, piccolo and flute. The harmony in the first part of bar 90 is a B major added sixth chord and the final beat is ...
... In the extract over the page the harmony is even more colourful with a rich texture created by horns and lower woodwind punctuated by a sparking intervention from pizzicato strings, harp, piccolo and flute. The harmony in the first part of bar 90 is a B major added sixth chord and the final beat is ...
Revision Pack for: MUSIC AS
... Sonata form a musical form that consists basically of an exposition, a development, and a Modulation is most commonly the act or process of changing from one key (tonic, or tonal recapitulation and that is used especially for the first movement of a sonata. centre) to another. Sprechgesang a type of ...
... Sonata form a musical form that consists basically of an exposition, a development, and a Modulation is most commonly the act or process of changing from one key (tonic, or tonal recapitulation and that is used especially for the first movement of a sonata. centre) to another. Sprechgesang a type of ...
Notes - Andre Mount
... Augmented 6th chords are called that because they’re characterized by an augmented 6th The interval expands outward to an octave o Part of a V chord “To generalize, the bass of an augmented 6th chord is a half step above 5 (6 in minor or b6 in major), one of the upper voices is a half step bel ...
... Augmented 6th chords are called that because they’re characterized by an augmented 6th The interval expands outward to an octave o Part of a V chord “To generalize, the bass of an augmented 6th chord is a half step above 5 (6 in minor or b6 in major), one of the upper voices is a half step bel ...
Major (our most common scale)
... When a pitch is sounded, many other “higher” sympathetic pitches also vibrate, called overtones. The strongest overtone of any pitch is the octave. Octaves are all pitches whose frequencies are related by powers of 2, meaning twice as fast or twice as slow, i.e. an “A” will sound with = 220, 440 or ...
... When a pitch is sounded, many other “higher” sympathetic pitches also vibrate, called overtones. The strongest overtone of any pitch is the octave. Octaves are all pitches whose frequencies are related by powers of 2, meaning twice as fast or twice as slow, i.e. an “A” will sound with = 220, 440 or ...
The Math behind a Guitar - Society for Industrial and Applied
... if the length of this string were to be cut in half, the pitch made would be equal in tone but at twice the frequency; an octave. The length of the string, tension, and its gauge (thickness) determine the pitch. On a guitar, the string length is controlled by the placement of frets on the neck. Plea ...
... if the length of this string were to be cut in half, the pitch made would be equal in tone but at twice the frequency; an octave. The length of the string, tension, and its gauge (thickness) determine the pitch. On a guitar, the string length is controlled by the placement of frets on the neck. Plea ...
Music Fundamentals Primer Lesson 1 – Clefs and Pitch Notation
... Eventually, you must know by memory all of the note names associated with the lines and spaces of both of these clefs. As an aid in learning these, it is suggested that you memorize two or three “anchor notes” then count up or down from there. For example, memorize the middle line and the top and bo ...
... Eventually, you must know by memory all of the note names associated with the lines and spaces of both of these clefs. As an aid in learning these, it is suggested that you memorize two or three “anchor notes” then count up or down from there. For example, memorize the middle line and the top and bo ...
Chords Triads
... Notice that the triads on the first, fourth and fifth degrees are major, whilst the triads on the second, third and sixth degrees are minor and the triad on the seventh degree is diminished. All major keys have this – major, minor, minor, major, major, minor, diminished pattern of triads. Note how t ...
... Notice that the triads on the first, fourth and fifth degrees are major, whilst the triads on the second, third and sixth degrees are minor and the triad on the seventh degree is diminished. All major keys have this – major, minor, minor, major, major, minor, diminished pattern of triads. Note how t ...
The Functional Tonal Musical System and its Mathematical
... so that the three functions, subdominant (fourth scale degree chord), tonic (first scale degree chord), and dominant (fifth scale degree chord) will gain the necessary harmonic cohesiveness. In the major tonality, the three chords are major. Starting from an acoustic premise – the pitch which is fou ...
... so that the three functions, subdominant (fourth scale degree chord), tonic (first scale degree chord), and dominant (fifth scale degree chord) will gain the necessary harmonic cohesiveness. In the major tonality, the three chords are major. Starting from an acoustic premise – the pitch which is fou ...
Basic Music Theory
... The music commonly played in our part of the world has twelve different notes: A, B, C, D, E, F, and G with a sharp (#) or flat (b) note between all the notes except B and C and E and F. The notes between the letters can be called either sharp or flat. A sharp (#) note is one fret higher than the le ...
... The music commonly played in our part of the world has twelve different notes: A, B, C, D, E, F, and G with a sharp (#) or flat (b) note between all the notes except B and C and E and F. The notes between the letters can be called either sharp or flat. A sharp (#) note is one fret higher than the le ...
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.