Lesson XXX: Major Keys and Key Signatures
... relating to tonic. Each major scale contains a distinct set of seven pitch classes: two major scales may share as many as six pitch classes, but not all seven. Since each major scale is unique in this way, a piece in a major key will have the same sharps or flats as its corresponding major scale. Wh ...
... relating to tonic. Each major scale contains a distinct set of seven pitch classes: two major scales may share as many as six pitch classes, but not all seven. Since each major scale is unique in this way, a piece in a major key will have the same sharps or flats as its corresponding major scale. Wh ...
AP Music Theory - Stratford Public Schools
... Identify practical uses for first inversion triads. Identify and apply the uses for V7 ii7, iio7, viio7 and viio7. ...
... Identify practical uses for first inversion triads. Identify and apply the uses for V7 ii7, iio7, viio7 and viio7. ...
Course Description - W. David
... The term chromatic derives from the Greek word chroma, meaning color. Chromatic notes are traditionally understood as harmonically inessential embellishments, shadings, or inflections of diatonic notes. ...
... The term chromatic derives from the Greek word chroma, meaning color. Chromatic notes are traditionally understood as harmonically inessential embellishments, shadings, or inflections of diatonic notes. ...
PowerPoint Lecture Slides
... If a piece moves from a scale with one tonic to a scale with another tonic, it is called modulation. ...
... If a piece moves from a scale with one tonic to a scale with another tonic, it is called modulation. ...
New Harmonic Resources
... Chords may be constructed of intervals other than thirds (triadic harmony):! 3rds (tertian)! Extensions of traditional triads: ! 7th, 9th, 11th, and 13th chords.! diatonic! ...
... Chords may be constructed of intervals other than thirds (triadic harmony):! 3rds (tertian)! Extensions of traditional triads: ! 7th, 9th, 11th, and 13th chords.! diatonic! ...
Prof
... The naming and numbering of notes is based on the piano keyboard, part of which is shown above. There are 88 notes on a standard piano, including both white and black keys. The keys on the left have the lowest pitch (or sound frequency), rising in frequency as we move to the right. The white keys ha ...
... The naming and numbering of notes is based on the piano keyboard, part of which is shown above. There are 88 notes on a standard piano, including both white and black keys. The keys on the left have the lowest pitch (or sound frequency), rising in frequency as we move to the right. The white keys ha ...
Bridges workshop worksheet
... The 3 : 2 and 2 : 1 ratios give us a way to find the frequencies of the 12 notes of the scale starting with one frequency. We’ll call tuning using just these intervals Pythagorean tuning. 2. Starting with any frequency you want (A=440 or 220 is canonical, but you can use anything you’d like), use A ...
... The 3 : 2 and 2 : 1 ratios give us a way to find the frequencies of the 12 notes of the scale starting with one frequency. We’ll call tuning using just these intervals Pythagorean tuning. 2. Starting with any frequency you want (A=440 or 220 is canonical, but you can use anything you’d like), use A ...
MUSICAL NOTATION Music is notated on a staff
... The curl of the treble clef circles the line that is G on the staff. The dots of bass clef are around the line that is F. The middle of C-clef is at the line that is middle C. The other lines and spaces represent other notes and always follow in order of the alphabet using only the first seven lette ...
... The curl of the treble clef circles the line that is G on the staff. The dots of bass clef are around the line that is F. The middle of C-clef is at the line that is middle C. The other lines and spaces represent other notes and always follow in order of the alphabet using only the first seven lette ...
Keyboard Layout
... So how do you alter a white key? Easy, just use one of two music symbols; the sharp (#) and the flat (b). These symbols, together with the natural sign are called accidentals (nope- no accident!). You will only see accidentals written in the sheet music. If you just talk about a black key without re ...
... So how do you alter a white key? Easy, just use one of two music symbols; the sharp (#) and the flat (b). These symbols, together with the natural sign are called accidentals (nope- no accident!). You will only see accidentals written in the sheet music. If you just talk about a black key without re ...
L 8-‐9 Musical Scales, Chords , and Intervals, The Pythagorean and
... To fill out the Pythagorean scale, we need F. If we take 2C to be the 5th above F, then 2C= 3/2F, or F = 4/3 C ...
... To fill out the Pythagorean scale, we need F. If we take 2C to be the 5th above F, then 2C= 3/2F, or F = 4/3 C ...
Tonal Harmony Chapter 22 Augmented Sixth Chord
... Like N6, the +6 originated in the minor mode, but it was soon found to be equally useful in major keys When used in major keys, it is often preceded by mode mixture ...
... Like N6, the +6 originated in the minor mode, but it was soon found to be equally useful in major keys When used in major keys, it is often preceded by mode mixture ...
Bringing some science to music
... The “mass” is about half because we only have half of the string ...
... The “mass” is about half because we only have half of the string ...
Blank UbD Planning Template
... W: Learn chords built on each note of the C major scale. Learn chords built on each note of the a minor scale. Arppegiate them. Learn arpeggiated two-hand chord progression in C major independent of sheet music: I vi IV ii IV iii IV V I vii IV ii IV V I Beatles-Let It Be Teach the three chords assoc ...
... W: Learn chords built on each note of the C major scale. Learn chords built on each note of the a minor scale. Arppegiate them. Learn arpeggiated two-hand chord progression in C major independent of sheet music: I vi IV ii IV iii IV V I vii IV ii IV V I Beatles-Let It Be Teach the three chords assoc ...
1 - Julianne Baird
... a. the first five b. the first seven c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at ...
... a. the first five b. the first seven c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at ...
1 - Julianne Baird
... a. the first five b. the first seven c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at ...
... a. the first five b. the first seven c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at ...
your name - Julianne Baird
... a. the first five b. the first seven c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at ...
... a. the first five b. the first seven c. wide variety d. the last three 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at ...
Understanding Temperaments
... This text is complemented by a Java applet that demonstrates tunings and temperaments (I’m also thinking of a virtual instrument one could actually practice tuning on), and by some short musical examples in various tunings and temperaments (MIDI and some .au files). A PDF version of this document (a ...
... This text is complemented by a Java applet that demonstrates tunings and temperaments (I’m also thinking of a virtual instrument one could actually practice tuning on), and by some short musical examples in various tunings and temperaments (MIDI and some .au files). A PDF version of this document (a ...
Summary of Tonal Harmony - Leon Couch`s Course Listings
... 3. To find a pivot chord, spell chords in both keys and find chord that are common between both. 4. To write a modulation, write a progression in one key that leads to the pivot. Then, write progression from that chord in the new key. CH19 Other Modulatory Techniques 1. Using secondary functions as ...
... 3. To find a pivot chord, spell chords in both keys and find chord that are common between both. 4. To write a modulation, write a progression in one key that leads to the pivot. Then, write progression from that chord in the new key. CH19 Other Modulatory Techniques 1. Using secondary functions as ...
DYNAMIC MARKS pp = pianissimo, very soft p = piano, soft mp
... Definition = Indicates the sharps or flats in any key. Appears at the beginning of each staff. ● Accidentals = sharps, flats, and naturals that are not in the key signature ● Enharmonic notes = sound same and use same fingering, but are written differently ...
... Definition = Indicates the sharps or flats in any key. Appears at the beginning of each staff. ● Accidentals = sharps, flats, and naturals that are not in the key signature ● Enharmonic notes = sound same and use same fingering, but are written differently ...
The Tetrachord (Ancient)
... the basic harmonic vocabulary of fourths and fifths; however, there were still no semitones, tritones or major sevenths to make singing difficult. 5) Strong tonality was developed in melodic compositions because the scales were made permanently uneven. 6) One major triad along with its lower relativ ...
... the basic harmonic vocabulary of fourths and fifths; however, there were still no semitones, tritones or major sevenths to make singing difficult. 5) Strong tonality was developed in melodic compositions because the scales were made permanently uneven. 6) One major triad along with its lower relativ ...
Music - Manchester HEP
... New note - B♭ E♭ A♭ D♭ G♭ (C♭) (F♭) (B♭♭) (E♭♭) (A♭♭) (D♭♭) 4. Sharps and flats We have 5 new sharps and 5 new flats. That’s 10 new notes. Can we combine them? Let’s look at G♯ and A♭ (the third sharp to be introduced and the third flat). A G♯ has the frequency 15/8 times that of A, which has a freq ...
... New note - B♭ E♭ A♭ D♭ G♭ (C♭) (F♭) (B♭♭) (E♭♭) (A♭♭) (D♭♭) 4. Sharps and flats We have 5 new sharps and 5 new flats. That’s 10 new notes. Can we combine them? Let’s look at G♯ and A♭ (the third sharp to be introduced and the third flat). A G♯ has the frequency 15/8 times that of A, which has a freq ...
Program - Michael Harrison, composer and pianist
... philosophers and mathematicians discovered that musical harmonies arise from mathematical relationships based on whole numbers. The most consonant harmonies are created when two strings vibrate in simple musical proportions, for example, the two notes comprising an octave have a 2:1 relationship, wh ...
... philosophers and mathematicians discovered that musical harmonies arise from mathematical relationships based on whole numbers. The most consonant harmonies are created when two strings vibrate in simple musical proportions, for example, the two notes comprising an octave have a 2:1 relationship, wh ...
Grade 9 Instrumental Music Theory Workbook
... Activity 8 – Families of Instruments * I am responsible for knowing the families of instruments in the concert band. ...
... Activity 8 – Families of Instruments * I am responsible for knowing the families of instruments in the concert band. ...
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.