![melody - Test Bank 1](http://s1.studyres.com/store/data/000114980_1-5373e5eed1af248e9676009df6c119e7-300x300.png)
melody - Test Bank 1
... arpeggiated accompaniment, although in this particular recording it is so rushed that students may have difficulty in perceiving the difference. (This song also demonstrates the contrast between major and minor). For an example of a composition featuring nothing but arpeggiated chords, play Bach’s P ...
... arpeggiated accompaniment, although in this particular recording it is so rushed that students may have difficulty in perceiving the difference. (This song also demonstrates the contrast between major and minor). For an example of a composition featuring nothing but arpeggiated chords, play Bach’s P ...
Tuning Continua and Keyboard Layouts - Computer
... work [1, 2] has shown by example that it is possible to have consistent fingering not only across all keys in a single tuning, but also across a range of tunings. For example, a 12-edo (equal divisions of the octave) major chord, a 19-edo major chord, and a Pythagorean major chord might all be finge ...
... work [1, 2] has shown by example that it is possible to have consistent fingering not only across all keys in a single tuning, but also across a range of tunings. For example, a 12-edo (equal divisions of the octave) major chord, a 19-edo major chord, and a Pythagorean major chord might all be finge ...
A permutational triadic approach to jazz harmony and the chord
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
Glossary - Theory Essentials Home Page
... bebop scale (noun) one of four scales used in jazz that add a chromatic passing tone to a traditional scale such as major, jazz minor, or one of the modes bichordality (noun) the use of two discrete sets of chords simultaneously, not necessarily referencing any ...
... bebop scale (noun) one of four scales used in jazz that add a chromatic passing tone to a traditional scale such as major, jazz minor, or one of the modes bichordality (noun) the use of two discrete sets of chords simultaneously, not necessarily referencing any ...
Musicology Today
... uniting melody and harmony through a formalized method which evidenced both musical scales as set of numbers, as well as their intervallic structure as a vector of creation. The rigors of this theory (condensing sound space and reducing temporal parameters) – by creating a neutral approach from an a ...
... uniting melody and harmony through a formalized method which evidenced both musical scales as set of numbers, as well as their intervallic structure as a vector of creation. The rigors of this theory (condensing sound space and reducing temporal parameters) – by creating a neutral approach from an a ...
Stravinsky and the Octatonic: A Reconsideration
... playing a noodling line that suggests D minor and D mixolydian. It is joined a measure later by a ute gure (not shown in the example) that also does not belong to the B melodic minor collection. Such superimpositions of melodic minor and other material are also characteristic of the nal two ex ...
... playing a noodling line that suggests D minor and D mixolydian. It is joined a measure later by a ute gure (not shown in the example) that also does not belong to the B melodic minor collection. Such superimpositions of melodic minor and other material are also characteristic of the nal two ex ...
Dynamic Tonality - William A. Sethares
... other pivot tuning. Cyclical temperament modulations that pass through a number of different temperaments before returning to the initial temperament would enable temperament progressions. This is virgin territory for creative artists in the 21st Century. ...
... other pivot tuning. Cyclical temperament modulations that pass through a number of different temperaments before returning to the initial temperament would enable temperament progressions. This is virgin territory for creative artists in the 21st Century. ...
A Graphical Model for Chord Progressions Embedded in a Psychoacoustic Space
... typical tonal music, most chord progressions are repeated in a cyclic fashion as the piece unfolds, with each chord having in general a length equal to integer multiples of the shortest chord length. The interaction between the notes that are actually played and the notes comprising the chord progre ...
... typical tonal music, most chord progressions are repeated in a cyclic fashion as the piece unfolds, with each chord having in general a length equal to integer multiples of the shortest chord length. The interaction between the notes that are actually played and the notes comprising the chord progre ...
1. Historical definitions.
... stretch it is possible to reduce absolutely any chord to piledup 3rds); and if, in the second place, the resolution of the dissonance is associated with a change of harmony (a change of root, which moreover will be in some part the result of the dissonance’s pull towards resolution). According to th ...
... stretch it is possible to reduce absolutely any chord to piledup 3rds); and if, in the second place, the resolution of the dissonance is associated with a change of harmony (a change of root, which moreover will be in some part the result of the dissonance’s pull towards resolution). According to th ...
Music Notation Symbols
... This clef can be thought of as an alto or tenor clef. It can be movable. Middle c is determined where the middle of the picture is pointing to. In this case it is the third line and for that reason it is an alto clef. If it were pointing to the fourth line it would be a tenor clef. This clef is most ...
... This clef can be thought of as an alto or tenor clef. It can be movable. Middle c is determined where the middle of the picture is pointing to. In this case it is the third line and for that reason it is an alto clef. If it were pointing to the fourth line it would be a tenor clef. This clef is most ...
1 LAPPEENRANTA UNIVERSITY OF TECHNOLOGY Faculty
... system (Isacoff, 2001, p.67). In the 1500s there was controversy about the best tuning system used in keyboard instruments. Offered were pythagorean tuning, just tuning, and meantone temperament. In addition to this jumble, equal temperament began to join in. Equal temperament was already used in lu ...
... system (Isacoff, 2001, p.67). In the 1500s there was controversy about the best tuning system used in keyboard instruments. Offered were pythagorean tuning, just tuning, and meantone temperament. In addition to this jumble, equal temperament began to join in. Equal temperament was already used in lu ...
pdf - Santa Fe Institute
... canonical tuning systems. We adopt a similar approach here, assuming a fixed number of “discrete” [Burns and Ward p. 243] pitches for a tuning system. While musics vary widely in the numbers of named pitches in use, having a fixed number of pitches offers practical and cognitive advantages. The most ...
... canonical tuning systems. We adopt a similar approach here, assuming a fixed number of “discrete” [Burns and Ward p. 243] pitches for a tuning system. While musics vary widely in the numbers of named pitches in use, having a fixed number of pitches offers practical and cognitive advantages. The most ...
Evolution and Structure in Flamenco Harmony
... E-major "tonic" chord and, in some contexts, as providing a temporary leading tone to an A-minor chord. On the other hand, the use of the augmented second in this context reflects the clear influence of the Arab mode Hija:::" whose scale is roughly E-F-Gjl-A-B-C-D. Both Phrygian and Hija:::, scales ...
... E-major "tonic" chord and, in some contexts, as providing a temporary leading tone to an A-minor chord. On the other hand, the use of the augmented second in this context reflects the clear influence of the Arab mode Hija:::" whose scale is roughly E-F-Gjl-A-B-C-D. Both Phrygian and Hija:::, scales ...
Chord Progressions
... and 11 of "My Romance" or measures 10 and 28 of "There Will Never Be Another You", as well as Beatles songs like "In My Life" and "If I Fell". It can be considered a minor plagal cadence in traditional theory. The flat-VII7 chord, a pivot chord borrowed from the parallel minor of the current key, is ...
... and 11 of "My Romance" or measures 10 and 28 of "There Will Never Be Another You", as well as Beatles songs like "In My Life" and "If I Fell". It can be considered a minor plagal cadence in traditional theory. The flat-VII7 chord, a pivot chord borrowed from the parallel minor of the current key, is ...
General Principles of Harmony by Alan Belkin
... surface contrast. Except in the case where the two are placed side by side for comparison or otherwise "pointed out" to the listener, the pitch similarity between them is thus relatively unimportant. Note that to make the listener's job easier I have used the same pitch classes. Imagine if I had als ...
... surface contrast. Except in the case where the two are placed side by side for comparison or otherwise "pointed out" to the listener, the pitch similarity between them is thus relatively unimportant. Note that to make the listener's job easier I have used the same pitch classes. Imagine if I had als ...
NAMING AND SINGING NOTES
... ¶ If associating a name with a pitch is what matters, why not just use letter names instead of fixed-do syllables? Good question. The main reason that I do not use the English letters with notes and pitches concerns our voice. Letters in English are inherently awkward to speak or sing. This is obvio ...
... ¶ If associating a name with a pitch is what matters, why not just use letter names instead of fixed-do syllables? Good question. The main reason that I do not use the English letters with notes and pitches concerns our voice. Letters in English are inherently awkward to speak or sing. This is obvio ...
Choral Scope and Sequence
... Define and recognize themes, countermelodies, repetition, and form Compose original melodies with set guidelines Compose simple arrangements Aurally identify the following types of compositions: AB (verse/chorus), ABA, AABA, AABBCC, Rondo, Theme and Variations) Identify sounds of various ...
... Define and recognize themes, countermelodies, repetition, and form Compose original melodies with set guidelines Compose simple arrangements Aurally identify the following types of compositions: AB (verse/chorus), ABA, AABA, AABBCC, Rondo, Theme and Variations) Identify sounds of various ...
Development of music perception and cognition
... 6-to 10-year-olds: results for tonal and atonal sequences diverged, with better performance on tonal sequences 12-year-olds: processing on atonal sequences caught up. For 4- and 6-tone sequences, the same pattern appeared, but the tonal-atonal difference remained until adulthood. A.Diederich – I ...
... 6-to 10-year-olds: results for tonal and atonal sequences diverged, with better performance on tonal sequences 12-year-olds: processing on atonal sequences caught up. For 4- and 6-tone sequences, the same pattern appeared, but the tonal-atonal difference remained until adulthood. A.Diederich – I ...
scale networks and debussy
... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
ROMANTIC AND IMPRESSIONIST STYLE IN THE HARP
... abounds. In the fourth movement of the Six Noëls, for example, the melodies do not show a balanced phrase structure. (Please see attached score for details on number four of the Six Noëls and for the subsequent pieces of discussion.8) This same feature also occurs in movement three of the Six Noëls. ...
... abounds. In the fourth movement of the Six Noëls, for example, the melodies do not show a balanced phrase structure. (Please see attached score for details on number four of the Six Noëls and for the subsequent pieces of discussion.8) This same feature also occurs in movement three of the Six Noëls. ...
Distinguishing Predominant and Subdominant Behavior in
... Returning to Reimann’s notion of local functional transfer, we may examine Gregory Proctor’s voice-leading paradigms in Figure 5. With respect to Rameau’s conception of function as related to local behavior rather than harmonic constituencies, Proctor described paradigmatic dominant motion as lower- ...
... Returning to Reimann’s notion of local functional transfer, we may examine Gregory Proctor’s voice-leading paradigms in Figure 5. With respect to Rameau’s conception of function as related to local behavior rather than harmonic constituencies, Proctor described paradigmatic dominant motion as lower- ...
Carl Nielsen Studies V - Svend Hvidtfelt Nielsen
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
Estimation of harpsichord inharmonicity
... and minor third, for successive values of n). Continuouspitch instruments and singers can dynamically adapt their intonation to form perfectly consonant intervals if required, but fixed-pitch instruments such as keyboard, some fretted, and some percussion instruments, need to commit to a tuning sche ...
... and minor third, for successive values of n). Continuouspitch instruments and singers can dynamically adapt their intonation to form perfectly consonant intervals if required, but fixed-pitch instruments such as keyboard, some fretted, and some percussion instruments, need to commit to a tuning sche ...
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.