2 Chants Ancient Roo.. - Paul Ayick Vintage Brass
... some post-Beethoven orchestral composers such as Scriabin, Debussy, and Leos Janacek. Janacek’s composition for orchestra Sinfonietta comes immediately to mind for in this piece the first movement begins with trombones playing a simple repetitive motiff voiced in open fifths, a very “chant-like” mus ...
... some post-Beethoven orchestral composers such as Scriabin, Debussy, and Leos Janacek. Janacek’s composition for orchestra Sinfonietta comes immediately to mind for in this piece the first movement begins with trombones playing a simple repetitive motiff voiced in open fifths, a very “chant-like” mus ...
Playing Melodically and Harmonically in Tune Michael Kimber One
... every flat is correspondingly lower, by an amount known as the Pythagorean comma—about the same size as the syntonic comma heard above. In equal temperament the discrepancy of the Pythagorean comma is avoided by using tempered (slightly mistuned) perfect fifths: 1.4983071 instead of 1.5. Even though ...
... every flat is correspondingly lower, by an amount known as the Pythagorean comma—about the same size as the syntonic comma heard above. In equal temperament the discrepancy of the Pythagorean comma is avoided by using tempered (slightly mistuned) perfect fifths: 1.4983071 instead of 1.5. Even though ...
hw3
... b. Which interval is worst approximated (in cents) by an equally tempered interval? Other than the octave, which is best approximated? c. How many pure fifths are there in this scale? Draw lines on the template and identify them by letter names. (There is more than one.) d. How many pure major third ...
... b. Which interval is worst approximated (in cents) by an equally tempered interval? Other than the octave, which is best approximated? c. How many pure fifths are there in this scale? Draw lines on the template and identify them by letter names. (There is more than one.) d. How many pure major third ...
Twentieth Century New scales New chords (almost any combination
... Firebird‐ 7 beats in the measure (meter), triads with added dissonant tones Petroushka‐ two chord progressions at once, two scales at once (polytonality) Rite of Spring‐ Primitivism No traditional chord progression or construction Large emphasis on rhythm instead of melody or harmony Crude, som ...
... Firebird‐ 7 beats in the measure (meter), triads with added dissonant tones Petroushka‐ two chord progressions at once, two scales at once (polytonality) Rite of Spring‐ Primitivism No traditional chord progression or construction Large emphasis on rhythm instead of melody or harmony Crude, som ...
Augmented Sixth Chords
... Augmented Sixth Chords like that moment of incredible tension just before the hero finally kisses the leading lady, the half-step is the go-to interval for creating tension in music of the common practice period. it drives the entire style! ...
... Augmented Sixth Chords like that moment of incredible tension just before the hero finally kisses the leading lady, the half-step is the go-to interval for creating tension in music of the common practice period. it drives the entire style! ...
Higher Concepts - Dunblane High School Music Website
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
Higher Concepts Higher Music Listening 2014 Onwards Music
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
Higher Concepts - Garnock Academy
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
Lecture 14a: Additional Remarks on Tuning Systems In previous
... multiples only of ratios like 3/2 and 5/4.) Benson calls just intonation systems involving ratios up to and including p (where p is a prime number) “p-limit systems”. For example, we could get a 7-limit system by using the interval of 7/4, which might be called a just minor seventh, and comes from t ...
... multiples only of ratios like 3/2 and 5/4.) Benson calls just intonation systems involving ratios up to and including p (where p is a prime number) “p-limit systems”. For example, we could get a 7-limit system by using the interval of 7/4, which might be called a just minor seventh, and comes from t ...
Igor Stravinsky (1882 –1971)
... ONE - two, etc. lTriple: ONE - two -three, etc. lQuadruple: ONE -two-threefour, etc. ...
... ONE - two, etc. lTriple: ONE - two -three, etc. lQuadruple: ONE -two-threefour, etc. ...
Major Key Signatures
... Key signatures are symbols representing a scale/key. They tell us which accidentals are used throughout the composition. A key signatures tells a musician the majority of notes that a composer has used in the music. The chart below represents the key signatures for all 15 major keys/scales. They are ...
... Key signatures are symbols representing a scale/key. They tell us which accidentals are used throughout the composition. A key signatures tells a musician the majority of notes that a composer has used in the music. The chart below represents the key signatures for all 15 major keys/scales. They are ...
Name: Nyocca Anderson Teacher: Mrs Chavannes Date: May 18
... is a group of 8 notes arranged in a particular order. A scale gets its name from the first note. There are different types of scales. One of which is the Major Scale.The Major Scale is very important for us to understand because we will use it as the basic element in understanding all scales, interv ...
... is a group of 8 notes arranged in a particular order. A scale gets its name from the first note. There are different types of scales. One of which is the Major Scale.The Major Scale is very important for us to understand because we will use it as the basic element in understanding all scales, interv ...
Modern Western Tuning System - Digital Commons @ Kent State
... In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth, while 2:1 or 1:2 represent an ascending or descending octave. In order to create a 12-tone chromatic scale Pythagoras had to omit the Gb (which is supposed to be the same note as F#, however this tuning produc ...
... In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth, while 2:1 or 1:2 represent an ascending or descending octave. In order to create a 12-tone chromatic scale Pythagoras had to omit the Gb (which is supposed to be the same note as F#, however this tuning produc ...
Diatonic Autoharps Explained
... The big advantage is that since there are no accidentals, you have strings ‘left over’. These extra strings are doubled with the notes in the seven-tone scale. Except for the bass and the very high notes, there are many notes which will have doubled strings. The sound of an acoustic diatonic autohar ...
... The big advantage is that since there are no accidentals, you have strings ‘left over’. These extra strings are doubled with the notes in the seven-tone scale. Except for the bass and the very high notes, there are many notes which will have doubled strings. The sound of an acoustic diatonic autohar ...
The Elements of Music
... – Musical = sounds that supply support and enrichment to the melody – Harmony in the sense of chord changes, ...
... – Musical = sounds that supply support and enrichment to the melody – Harmony in the sense of chord changes, ...
Comparison of musical period
... Slower at the end Rhythm pattern follows Rhythm Pattern of beginning Homophonic Texture Imitative polyphony Sometimes long phrases Melody & Phrase Ornamented Triads of the key mainly Harmony Some suspension Diatonic Tonality & Key Modulated to related key Form & Structure Binary(AB) Baroq. suites wi ...
... Slower at the end Rhythm pattern follows Rhythm Pattern of beginning Homophonic Texture Imitative polyphony Sometimes long phrases Melody & Phrase Ornamented Triads of the key mainly Harmony Some suspension Diatonic Tonality & Key Modulated to related key Form & Structure Binary(AB) Baroq. suites wi ...
Music 11, 7/24/06 Fundamental of harmony Melodies are often built
... dynamic relationships between pitches in the scale that represents a key. ^7—^1, for example, emphasizes the keynote because of the leading-tone-ness of scale degree 7 (“^7”). It wants to resolve to the tonic, ^1. Other “tendency tones,” or scale degrees that “tend” to move to other specific scale d ...
... dynamic relationships between pitches in the scale that represents a key. ^7—^1, for example, emphasizes the keynote because of the leading-tone-ness of scale degree 7 (“^7”). It wants to resolve to the tonic, ^1. Other “tendency tones,” or scale degrees that “tend” to move to other specific scale d ...
Learning Outcome
... The concepts of whole, half and quarter note rests. The concept of sharp and flat notes. Identify and play the notes F# and C# within the first 4 frets. How to play a simple melody with eighth notes at a steady tempo (example: Frere Jacques, Minuet in G) How to play a chord progression with the chor ...
... The concepts of whole, half and quarter note rests. The concept of sharp and flat notes. Identify and play the notes F# and C# within the first 4 frets. How to play a simple melody with eighth notes at a steady tempo (example: Frere Jacques, Minuet in G) How to play a chord progression with the chor ...
Plan - Samoset Music
... for before playing the piece. Follow the guidelines below, and your orchestra will be sightreading STARS! Use the word STARS to remind yourself what to look for before reading a selection for the first time. ...
... for before playing the piece. Follow the guidelines below, and your orchestra will be sightreading STARS! Use the word STARS to remind yourself what to look for before reading a selection for the first time. ...
Document
... Time Signature – two numbers that appear at the beginning of a piece of music which indicate how many beats there are in a bar. Dorian Mode – a scale running from D to D on the keyboard using only white notes Jig – an Irish Dance ...
... Time Signature – two numbers that appear at the beginning of a piece of music which indicate how many beats there are in a bar. Dorian Mode – a scale running from D to D on the keyboard using only white notes Jig – an Irish Dance ...
Hearing Math and Seeing Music: a Workshop on Pitch Perception
... A is close to perfect, but the fifth from G# to D# is far too wide. A keyboard tuned in that system will sound beautiful in the key of D but terrible in the key of G#. If a composer didn’t care about writing in keys that would use the G# to D# fifth, they wouldn’t mind using the temperament. As comp ...
... A is close to perfect, but the fifth from G# to D# is far too wide. A keyboard tuned in that system will sound beautiful in the key of D but terrible in the key of G#. If a composer didn’t care about writing in keys that would use the G# to D# fifth, they wouldn’t mind using the temperament. As comp ...
Block Class Revision 2015 Set A
... Perfect V-I – found at end or middle Plagal IV-I – found at end or middle Imperfect I – V - found in the middle – never at end. ii – V- found in the middle – never at end. IV-V- found in the middle – never at end. Interrupted V-vi- found in the middle – never at end. Never repeat the same chord twic ...
... Perfect V-I – found at end or middle Plagal IV-I – found at end or middle Imperfect I – V - found in the middle – never at end. ii – V- found in the middle – never at end. IV-V- found in the middle – never at end. Interrupted V-vi- found in the middle – never at end. Never repeat the same chord twic ...
Document
... notes of the chromatic scale • The distance between two adjacent notes on the keyboard ...
... notes of the chromatic scale • The distance between two adjacent notes on the keyboard ...
Here are some important points about pitch: • Pitch is the “highness
... and distinct because we can recognize it and distinguish it from others. Let’s take a look at how some common scales are constructed. As we saw in our discussion of pitch, two neighboring notes can be either a half-step or a whole-step apart. The series of notes C D E F G A B C makes up a major scal ...
... and distinct because we can recognize it and distinguish it from others. Let’s take a look at how some common scales are constructed. As we saw in our discussion of pitch, two neighboring notes can be either a half-step or a whole-step apart. The series of notes C D E F G A B C makes up a major scal ...
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.