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The History of Musical Tuning and Temperament during the
... the idea that the sound of notes and scales have changed is a foreign concept. Over the past 2000 years, tuning and temperament has changed, from region to region, from musician to musician, and from year to year. The histories of tuning and temperament are important because to understand the music ...
... the idea that the sound of notes and scales have changed is a foreign concept. Over the past 2000 years, tuning and temperament has changed, from region to region, from musician to musician, and from year to year. The histories of tuning and temperament are important because to understand the music ...
RESEARCH ARTICLE Metrics for Scales and Tunings
... (2) They can be isomorphically mapped to a two-dimensional lattice controller, such as the Thummer [9] or Hex [10]. This ensures that the geometrical shape of all intervals is invariant over different transpositions, and that the pitch height order of any privileged set of shapes/intervals (such as ...
... (2) They can be isomorphically mapped to a two-dimensional lattice controller, such as the Thummer [9] or Hex [10]. This ensures that the geometrical shape of all intervals is invariant over different transpositions, and that the pitch height order of any privileged set of shapes/intervals (such as ...
Harmony as a Strategy for Beneficial Change by Richard A. Schultz
... played is the same, even though the voices that have combined to create the chord are very different. The harmony created by each chord in this example has a decidedly different effect on the listener because of the choice of components that were used to assemble it. Chords can elicit specific emoti ...
... played is the same, even though the voices that have combined to create the chord are very different. The harmony created by each chord in this example has a decidedly different effect on the listener because of the choice of components that were used to assemble it. Chords can elicit specific emoti ...
Absolute pitch
... Harington and Fentress, 1990) and monkeys (D'Amato, 1987–8) demonstrate absolute pitch memory. Clearly, tone-AP must be learnt from exposure to music containing fixed pitches, coupled with knowledge of pitch labels (Wedell, 1934; Levitin, 1999). Chroma identification rates are higher, and response t ...
... Harington and Fentress, 1990) and monkeys (D'Amato, 1987–8) demonstrate absolute pitch memory. Clearly, tone-AP must be learnt from exposure to music containing fixed pitches, coupled with knowledge of pitch labels (Wedell, 1934; Levitin, 1999). Chroma identification rates are higher, and response t ...
Trio for Piano, Oboe and Bassoon
... • Despite some initial experiments in polytonality (e.g., En avion from the Promenades for piano), the vast majority of Poulenc’s music is unambiguously tonal and his harmony is fundamentally diatonic and functional, if sometimes intricate. The critic Clarendon called Poulenc “the best harmonist of ...
... • Despite some initial experiments in polytonality (e.g., En avion from the Promenades for piano), the vast majority of Poulenc’s music is unambiguously tonal and his harmony is fundamentally diatonic and functional, if sometimes intricate. The critic Clarendon called Poulenc “the best harmonist of ...
Ancient Greek Music: A Technical History by Stefan Hagel
... If we consult Cleonides again, we learn that the word «τόνος» can be used in four ways: either to mean a note (φθόγγος), or an interval (διάστημα, i.e., presumably the interval of a whole tone as the difference between the fifth and the fourth) or the ‘range of a voice’ (τόπος φωνῆς) or pitch (τάσις) ...
... If we consult Cleonides again, we learn that the word «τόνος» can be used in four ways: either to mean a note (φθόγγος), or an interval (διάστημα, i.e., presumably the interval of a whole tone as the difference between the fifth and the fourth) or the ‘range of a voice’ (τόπος φωνῆς) or pitch (τάσις) ...
A propos du « mouvement musical » chez Debussy :
... harmonic spectrum (corrected by the exigencies of equal temperament) can frequently be heard, especially in Debussy, as an altered Mixolydian mode (the fourth degree raised a half-step). Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian m ...
... harmonic spectrum (corrected by the exigencies of equal temperament) can frequently be heard, especially in Debussy, as an altered Mixolydian mode (the fourth degree raised a half-step). Barraqué prefers to see it as “a composite mode that results from the intersection of the Mixolydian and Lydian m ...
Tier 3 unit 1 power point
... Octave Definition: Two pitches of the same name where one is sounding eight tones higher than the other. ...
... Octave Definition: Two pitches of the same name where one is sounding eight tones higher than the other. ...
Hybrid Thinking in Meloharmony
... Renaissance (Pietro Aron is a prominent name in this context) the major third became a just 5/4 within meantone keyboard tunings, while the fifth was heavily tempered (down by 5.4 cents against just 3/2). The unequal size of the intervallic steps (from 76 to 117 cents, with the famous "wolf" between ...
... Renaissance (Pietro Aron is a prominent name in this context) the major third became a just 5/4 within meantone keyboard tunings, while the fifth was heavily tempered (down by 5.4 cents against just 3/2). The unequal size of the intervallic steps (from 76 to 117 cents, with the famous "wolf" between ...
Chords and Ragas based on the Melodic minor scale
... These notes correspond to the Sa Ri2 Ga2 Ma1 Pa Dha2 Ni3 Sa of the Raga Gaurimanohari. (The details of the relation between intervals and swaras is found in the pdf about notations.) Watch this video of the Arohana Avarohana of Raga Gowrimanohari as shown on the guitar fretboard, to see how the note ...
... These notes correspond to the Sa Ri2 Ga2 Ma1 Pa Dha2 Ni3 Sa of the Raga Gaurimanohari. (The details of the relation between intervals and swaras is found in the pdf about notations.) Watch this video of the Arohana Avarohana of Raga Gowrimanohari as shown on the guitar fretboard, to see how the note ...
Definition - Murphy Junior High Music
... Octave Definition: Two pitches of the same name where one is sounding eight tones higher than the other. ...
... Octave Definition: Two pitches of the same name where one is sounding eight tones higher than the other. ...
The Devolution of the Shepherd Trumpet and Its Seminal
... between a-natural'' and b-flat''.7 Arrows point in the direction that the natural-scale note sounds in comparison to the closest pitch in equal temperament. Due to this difference between the two scales, there has been a great deal of confusion when attempting to represent the harmonic series using s ...
... between a-natural'' and b-flat''.7 Arrows point in the direction that the natural-scale note sounds in comparison to the closest pitch in equal temperament. Due to this difference between the two scales, there has been a great deal of confusion when attempting to represent the harmonic series using s ...
Lesson UUU: The Major Scale Introduction: The
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and uses each intervening letter name once and only once. Try again.”] Pitch relations in the m ...
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and uses each intervening letter name once and only once. Try again.”] Pitch relations in the m ...
Lesson_UUU_-_The_Maj..
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and uses each intervening letter name once and only once. Try again.”] Pitch relations in the m ...
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and uses each intervening letter name once and only once. Try again.”] Pitch relations in the m ...
Interval Scale as Group Generators - Base des articles scientifiques
... scale is examined, and the necessary and sufficient condition for an interval scale to be preserved by several tonerow transformations is proved. These results will provide a basic understanding and some criteria of selecting interval scales for composers who create music based on this concept. 1. I ...
... scale is examined, and the necessary and sufficient condition for an interval scale to be preserved by several tonerow transformations is proved. These results will provide a basic understanding and some criteria of selecting interval scales for composers who create music based on this concept. 1. I ...
Harmonic innovations in the piano works of Debussy and Ravel
... Vino; triads wit h perfect and augmented fifths, and dominant sevenths with added major sixths, in Les Fees Sont d'Exauises Danseuses; chords made up of augmented fourths and major sevenths, in Ondine;and chords built in fourths and fifths, in La cathedrale Engloutie. ...
... Vino; triads wit h perfect and augmented fifths, and dominant sevenths with added major sixths, in Les Fees Sont d'Exauises Danseuses; chords made up of augmented fourths and major sevenths, in Ondine;and chords built in fourths and fifths, in La cathedrale Engloutie. ...
Spectral analysis of different harmonies Implemented by Equal
... equal tempered tuning. Although the Just tuned major and minor triads have significantly clearer frequency ratio relationships than the Equal tempered major and minor triads, many newly arisen integer related harmonies (yellow boxes and red-colored numbers) exist in Equal tempered tuning system in w ...
... equal tempered tuning. Although the Just tuned major and minor triads have significantly clearer frequency ratio relationships than the Equal tempered major and minor triads, many newly arisen integer related harmonies (yellow boxes and red-colored numbers) exist in Equal tempered tuning system in w ...
Jazz Scale Theory - mo` better blues
... It also does not include extensive practice exercises, though there are some suggested practice methods mentioned in passing throughout and summarized at the conclusion. It is intended to be a thorough examination of the application of some key scales and modes as they are applied in the process of ...
... It also does not include extensive practice exercises, though there are some suggested practice methods mentioned in passing throughout and summarized at the conclusion. It is intended to be a thorough examination of the application of some key scales and modes as they are applied in the process of ...
An Analysis of Automatic Chord Recognition Procedures for Music
... • Is Able to recognize the center frequency of chord or music segment. • Unable to recognize the instrument. • Unable to recognize the speed of playing. (cannot detect tempo) • The strong onsets or string vibratos will lead to energy spreading in a large frequency range. It may cause some problem . ...
... • Is Able to recognize the center frequency of chord or music segment. • Unable to recognize the instrument. • Unable to recognize the speed of playing. (cannot detect tempo) • The strong onsets or string vibratos will lead to energy spreading in a large frequency range. It may cause some problem . ...
File
... scale. Playing in major keys generally creates lighter sounding pieces, whereas playing in minor keys creates darker sounding pieces. Consonance is how pleasant or stable one perceives two pitches played simultaneously (or one after the other). There are many theories on what makes two pitches conso ...
... scale. Playing in major keys generally creates lighter sounding pieces, whereas playing in minor keys creates darker sounding pieces. Consonance is how pleasant or stable one perceives two pitches played simultaneously (or one after the other). There are many theories on what makes two pitches conso ...
CURRICULUM GUIDE VISUAL/PERFORMING ARTS DEPT
... Unit 1: Fundamentals of Music Notation, Pitch and the Keyboard Unit 2: Note Values and Rhythmic Organization Unit 3: Time Signatures, Dotted Notes, Ties and Slurs Unit 4: Repeat Signs, 1st and 2nd Endings; Eighth Notes/Rests and Dotted Quarter Note Unit 5: Dynamic Signs, Tempo Marks, Articulation an ...
... Unit 1: Fundamentals of Music Notation, Pitch and the Keyboard Unit 2: Note Values and Rhythmic Organization Unit 3: Time Signatures, Dotted Notes, Ties and Slurs Unit 4: Repeat Signs, 1st and 2nd Endings; Eighth Notes/Rests and Dotted Quarter Note Unit 5: Dynamic Signs, Tempo Marks, Articulation an ...
RATIOS AND MUSICAL INTERVALS We like to think of an interval
... set of downward intervals = {x ∈ R | 0 < x < 1} = (0, 1) set of upward intervals = {x ∈ R | 1 < x} = (0, ∞) The interval created when f1 = f2 will here be called the unison interval. It is given by the ratio f : f (for any f ∈ R+ ), whcich corresponds via ϕ to the number 1. Each interval f1 : f2 has ...
... set of downward intervals = {x ∈ R | 0 < x < 1} = (0, 1) set of upward intervals = {x ∈ R | 1 < x} = (0, ∞) The interval created when f1 = f2 will here be called the unison interval. It is given by the ratio f : f (for any f ∈ R+ ), whcich corresponds via ϕ to the number 1. Each interval f1 : f2 has ...
Tonal desires
... “transgressive” intervals (e.g. tritones, augmented thirds, diminished fourths, augmented fifths, major sevenths) 5. the “normalizing” of secundal harmony (minor and major seconds) through their prolongation and usage at cadential points The first of these techniques, in which scalar collections ar ...
... “transgressive” intervals (e.g. tritones, augmented thirds, diminished fourths, augmented fifths, major sevenths) 5. the “normalizing” of secundal harmony (minor and major seconds) through their prolongation and usage at cadential points The first of these techniques, in which scalar collections ar ...
Yet Another 72-Noter - Masters Program in Digital Musics
... enough to make me think it might be fun to write for those instruments. But neither was pretty or interesting enough to make me willing to submit to Partch's theory and idea of the proper style. So I kept on being "respectable," all the while learning accidentally more and more about other tunings a ...
... enough to make me think it might be fun to write for those instruments. But neither was pretty or interesting enough to make me willing to submit to Partch's theory and idea of the proper style. So I kept on being "respectable," all the while learning accidentally more and more about other tunings a ...
Unit 4 - Intervals
... More Things to Keep In Mind… IF an interval is perfect, THEN BOTH the top and bottom pitch is in the other’s major key. IF the same accidental is added to both the upper and lower pitch, THEN the interval remains the same. IF an accidental is added only to the bottom pitch, THEN the accidental h ...
... More Things to Keep In Mind… IF an interval is perfect, THEN BOTH the top and bottom pitch is in the other’s major key. IF the same accidental is added to both the upper and lower pitch, THEN the interval remains the same. IF an accidental is added only to the bottom pitch, THEN the accidental h ...
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.