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Popular Music Theory - The Academy Of Popular Music
... When written on its own a semiquaver has 2 tails instead of one, to distinguish it from a quaver. A semiquaver rest looks like a quaver rest with 2 lines instead of one. B Minor has the same key signature as D Major. The B Natural Minor Scale contains the notes B, C#, D, E, F#, G, A and B. The triad ...
... When written on its own a semiquaver has 2 tails instead of one, to distinguish it from a quaver. A semiquaver rest looks like a quaver rest with 2 lines instead of one. B Minor has the same key signature as D Major. The B Natural Minor Scale contains the notes B, C#, D, E, F#, G, A and B. The triad ...
Rossini`s - The Spirit of Great Oak
... Synopsis of “Petite Messe Solennelle” Rossini’s mass was very solemn, the last of his Péchés de vieillesse (sins of old age). He dedicated it to the Countess Louise Pillet-Will and given its first performance at her private chapel in March 1864. Originally scored for two pianos, harmonium and 12 so ...
... Synopsis of “Petite Messe Solennelle” Rossini’s mass was very solemn, the last of his Péchés de vieillesse (sins of old age). He dedicated it to the Countess Louise Pillet-Will and given its first performance at her private chapel in March 1864. Originally scored for two pianos, harmonium and 12 so ...
Concert Orchestra Final Exam STUDY GUIDE
... d. D MAJOR – 2 Sharps (F# and C#) 2. The above are all MAJOR KEYS. Major keys can have sharps OR flats, and Minor keys can have sharps OR flats, depending on the key. 3. Natural notes are NOT all the same distance apart. a. B-C is a half step, E-F is a half step. b. C MAJOR SCALE is: i. C D E^F G A ...
... d. D MAJOR – 2 Sharps (F# and C#) 2. The above are all MAJOR KEYS. Major keys can have sharps OR flats, and Minor keys can have sharps OR flats, depending on the key. 3. Natural notes are NOT all the same distance apart. a. B-C is a half step, E-F is a half step. b. C MAJOR SCALE is: i. C D E^F G A ...
The Establishment of Equal Temperament
... One of the greatest treasures that came from the Baroque era amidst the tuning and temperament controversies was The Well Tempered Clavier by Johann Sebastian Bach. It is comprised of two solo keyboard books written in 1722 and 1724 that include different pieces using all twenty-four major and minor ...
... One of the greatest treasures that came from the Baroque era amidst the tuning and temperament controversies was The Well Tempered Clavier by Johann Sebastian Bach. It is comprised of two solo keyboard books written in 1722 and 1724 that include different pieces using all twenty-four major and minor ...
Tonal Harmony Chapter 15 Other Diatonic Seventh Chords
... In major key, the diatonic median seventh chord is a iii7 In minor key, it is a IIIM7 The iii7 usually progresses to a VI(7), but it may also be followed by a IV chord Seventh Chords and the Circle-of-Fifths Sequence Usual harmonic functions of most diatonic chords are closely related to the ...
... In major key, the diatonic median seventh chord is a iii7 In minor key, it is a IIIM7 The iii7 usually progresses to a VI(7), but it may also be followed by a IV chord Seventh Chords and the Circle-of-Fifths Sequence Usual harmonic functions of most diatonic chords are closely related to the ...
Name
... F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A major arpeggio is AC#EA; F# minor arpeggio is F#AC#F# ...
... F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A major arpeggio is AC#EA; F# minor arpeggio is F#AC#F# ...
Lesson_SSS_-_Diatoni..
... Db and Cb). The descending-fifth sequence that follows, beginning with iv in m. 26, completes the cycle from the initial i chord to the tonic in m. 32. Harmonically, the iv chord in m. 33 continues the descending-fifth series, but by then, the melodic pattern in the upper voice is broken. Sequences ...
... Db and Cb). The descending-fifth sequence that follows, beginning with iv in m. 26, completes the cycle from the initial i chord to the tonic in m. 32. Harmonically, the iv chord in m. 33 continues the descending-fifth series, but by then, the melodic pattern in the upper voice is broken. Sequences ...
Lesson SSS - Diatonic Sequences
... Db and Cb). The descending-fifth sequence that follows, beginning with iv in m. 26, completes the cycle from the initial i chord to the tonic in m. 32. Harmonically, the iv chord in m. 33 continues the descending-fifth series, but by then, the melodic pattern in the upper voice is broken. Sequences ...
... Db and Cb). The descending-fifth sequence that follows, beginning with iv in m. 26, completes the cycle from the initial i chord to the tonic in m. 32. Harmonically, the iv chord in m. 33 continues the descending-fifth series, but by then, the melodic pattern in the upper voice is broken. Sequences ...
Investigate the mathematics behind the tuning systems of Wendy
... As we said earlier, consonance occurs when frequencies of notes are related by simple integer ratios: two pitches with a small integer ratio between their frequencies are in perfect harmony. A possible tuning would be to construct notes with frequencies following exactly these ratios. Such tuning sy ...
... As we said earlier, consonance occurs when frequencies of notes are related by simple integer ratios: two pitches with a small integer ratio between their frequencies are in perfect harmony. A possible tuning would be to construct notes with frequencies following exactly these ratios. Such tuning sy ...
CHROMATIC SCALES 0 0
... ajor and minor scales are diatonic. That is, they are made up of tones and semitones, and they contain only notes that belo ng to the scale. A chromatic scale is made up of only semitones and contains all twelve notes in the octave. There are two types of chromatic scale s: the chromatic scale that ...
... ajor and minor scales are diatonic. That is, they are made up of tones and semitones, and they contain only notes that belo ng to the scale. A chromatic scale is made up of only semitones and contains all twelve notes in the octave. There are two types of chromatic scale s: the chromatic scale that ...
Mathematical Properties of the Octatonic “Diminished
... the scale (for the second mode, this is the starting note), giving it the most dissonant sound of any commonly used scale. However, even the untrained ear can tell the difference between a chord or phrase played using this scale and one using random unrelated notes, which sound completely dissonant. ...
... the scale (for the second mode, this is the starting note), giving it the most dissonant sound of any commonly used scale. However, even the untrained ear can tell the difference between a chord or phrase played using this scale and one using random unrelated notes, which sound completely dissonant. ...
AP-Music-Theory-Study-Guide
... • Imitative polyphony- two or more equally prominent, simultaneous melodic lines, those lines being similar in shape and sound • Nonimitative polyphony- two or more melodic lines playing distinct melodies • Fugal imitation- each phrase of text is assigned a musical subject that is then taken up by e ...
... • Imitative polyphony- two or more equally prominent, simultaneous melodic lines, those lines being similar in shape and sound • Nonimitative polyphony- two or more melodic lines playing distinct melodies • Fugal imitation- each phrase of text is assigned a musical subject that is then taken up by e ...
P5a - Piano Grade 5
... There is no sustaining pedal on a harpsichord, and the tone dies away quite rapidly. • Dynamics were usually left to the performer to determine. Where they are indicated by the composer, they are often “terraced” (i.e. changing immediately from one level to another), although this does not imply tha ...
... There is no sustaining pedal on a harpsichord, and the tone dies away quite rapidly. • Dynamics were usually left to the performer to determine. Where they are indicated by the composer, they are often “terraced” (i.e. changing immediately from one level to another), although this does not imply tha ...
41. George Gershwin Summertime from Porgy and Bess
... In verse 1 (7-24) the melody is supported by block chords, with contrasting melodic movement in the accompaniment being lines used to fill in underneath long notes in the vocal part, in bars 14-15, 19-20 and 22-23. There is a limited form of imitation between orchestral parts in bars 14-15 and in 22 ...
... In verse 1 (7-24) the melody is supported by block chords, with contrasting melodic movement in the accompaniment being lines used to fill in underneath long notes in the vocal part, in bars 14-15, 19-20 and 22-23. There is a limited form of imitation between orchestral parts in bars 14-15 and in 22 ...
11 – Music temperament and pitch
... requiring that both intervals F3C4 and C4G4 are perfect fifths and using the ear. Tuning is not very difficult since the perfect fifth is the second-simplest interval (after the octave) with the frequency ratio 3:2. Moving in this way up and down from C4, one can tune all 12 semitons, however within ...
... requiring that both intervals F3C4 and C4G4 are perfect fifths and using the ear. Tuning is not very difficult since the perfect fifth is the second-simplest interval (after the octave) with the frequency ratio 3:2. Moving in this way up and down from C4, one can tune all 12 semitons, however within ...
Higher Music Literacy Unit 4 – Intervals
... distance of 8 notes between 2 notes of the same name. ...
... distance of 8 notes between 2 notes of the same name. ...
Vocal Music Intermediate Baseline Assessment Section One
... Remembering and Understanding 1. Second lowest male singing voice, between tenor and bass a. baritone b. head voice c. falsetto 2. An alternative way of identifying a time signature where there are 4 beats in a measure and the quarter note receives the beat is _____. a. common time b. cut time c. tr ...
... Remembering and Understanding 1. Second lowest male singing voice, between tenor and bass a. baritone b. head voice c. falsetto 2. An alternative way of identifying a time signature where there are 4 beats in a measure and the quarter note receives the beat is _____. a. common time b. cut time c. tr ...
Quick Reference Guide to Music Notation
... beats. Similarly, rests have duration. Rests indicate space in the music where there is no note being sung or played. All this counting and measuring is called the metre of the music. Music is very mathematical in nature. Here are the durations of notes and rests. Whenever you see a dot ( · ) after ...
... beats. Similarly, rests have duration. Rests indicate space in the music where there is no note being sung or played. All this counting and measuring is called the metre of the music. Music is very mathematical in nature. Here are the durations of notes and rests. Whenever you see a dot ( · ) after ...
The Diatonic Scale - Metropolitan Cantor Institute
... So far we have not really defined what makes a major scale. Simply, a major scale is a seven tone scale with half tones between the 3rd and 4th degrees (mi to fa) and the 7th and 8th degrees (ti to do). A minor scale, by comparison, is a seven tone scale with half-notes between the 2nd and 3rd degre ...
... So far we have not really defined what makes a major scale. Simply, a major scale is a seven tone scale with half tones between the 3rd and 4th degrees (mi to fa) and the 7th and 8th degrees (ti to do). A minor scale, by comparison, is a seven tone scale with half-notes between the 2nd and 3rd degre ...
Grade 9 Music Exam Review
... Accidental – sharps, flats or naturals that occur within the music, right beside the notes. This is often distinguished from using a key signature. Interval –the distance between any two notes – 1, 4, 5 and 8 are perfect and 2, 3, 6 and 7 are major above the notes in a major scale Semi-tone – half-s ...
... Accidental – sharps, flats or naturals that occur within the music, right beside the notes. This is often distinguished from using a key signature. Interval –the distance between any two notes – 1, 4, 5 and 8 are perfect and 2, 3, 6 and 7 are major above the notes in a major scale Semi-tone – half-s ...
(Answers and Exam Piece).
... Accidental – sharps, flats or naturals that occur within the music, right beside the notes. This is often distinguished from using a key signature. Interval –the distance between any two notes – 1, 4, 5 and 8 are perfect and 2, 3, 6 and 7 are major above the notes in a major scale Semi-tone – half-s ...
... Accidental – sharps, flats or naturals that occur within the music, right beside the notes. This is often distinguished from using a key signature. Interval –the distance between any two notes – 1, 4, 5 and 8 are perfect and 2, 3, 6 and 7 are major above the notes in a major scale Semi-tone – half-s ...
Ask Hohner`s Harmonica Tech
... a step apart and put together as one. With the assistance of a slide they produce all the notes of the scale, natural as well as sharps or flats. They are Solo tuned, meaning one complete octave to every 4 holes. To allow for the same breath exchange in every octave, the tonic notes are repeated in ...
... a step apart and put together as one. With the assistance of a slide they produce all the notes of the scale, natural as well as sharps or flats. They are Solo tuned, meaning one complete octave to every 4 holes. To allow for the same breath exchange in every octave, the tonic notes are repeated in ...
Chapter 6 Natural Minor Scales and Minor Key Signatures
... •The Christmas Carol, “We Three Kings” is in a minor key and its notes are taken from a minor scale. Music in minor keys often seems darker, more serious or more exotic than music in major keys. • There are three minor scales: natural, harmonic and melodic. • All three minor scales have the same pat ...
... •The Christmas Carol, “We Three Kings” is in a minor key and its notes are taken from a minor scale. Music in minor keys often seems darker, more serious or more exotic than music in major keys. • There are three minor scales: natural, harmonic and melodic. • All three minor scales have the same pat ...
The Baroque 1/4
... From about 1620, some important principles were formulated which came to dominate harmonic thought and practice. Tonality was the most important principle established at that time – by gradually replacing the modal system with major and minor scales. The chords in each key in three groups (tonic; do ...
... From about 1620, some important principles were formulated which came to dominate harmonic thought and practice. Tonality was the most important principle established at that time – by gradually replacing the modal system with major and minor scales. The chords in each key in three groups (tonic; do ...
Four-Part Harmony
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
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.