(1) Sound and Music
... the earlier method of using simple frequency ratios to divide up the octave, which had great limitations when trying to transpose music from one key to another (more on what this means later). ...
... the earlier method of using simple frequency ratios to divide up the octave, which had great limitations when trying to transpose music from one key to another (more on what this means later). ...
Musical Modes Explained
... Any two adjacent keys – black or white – are a half step apart. For example, C-C# are a half step apart, as are E-F and B-C. Any two keys with one key in between them are a whole step apart. For example, C-D are a whole step apart, as are E-F# and B-C#. What you really have with each new mode is a ...
... Any two adjacent keys – black or white – are a half step apart. For example, C-C# are a half step apart, as are E-F and B-C. Any two keys with one key in between them are a whole step apart. For example, C-D are a whole step apart, as are E-F# and B-C#. What you really have with each new mode is a ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... Essentially, a subphrase is a melodic event, whereas a phrase is a harmonic event Phrases are usually labeled with lowercase letters (a, b, c and son on) There is a good deal of subjectivity involved in identifying phrases Phrases are often extended by means of a deceptive progression follow ...
... Essentially, a subphrase is a melodic event, whereas a phrase is a harmonic event Phrases are usually labeled with lowercase letters (a, b, c and son on) There is a good deal of subjectivity involved in identifying phrases Phrases are often extended by means of a deceptive progression follow ...
Figured Bass and Tonality Recognition
... explanatory capacity”. The system works with a MIDI-like representation of notes, and no enharmonic spelling algorithm is implemented. The system thus suffers from a number of drawbacks by not recognizing the difference between, for example, F# and Gb. This will certainly lead to a number of problem ...
... explanatory capacity”. The system works with a MIDI-like representation of notes, and no enharmonic spelling algorithm is implemented. The system thus suffers from a number of drawbacks by not recognizing the difference between, for example, F# and Gb. This will certainly lead to a number of problem ...
The Rosegarden Codicil: Rehearsing Music in Nineteen
... We are using the term ‘microtonal tuning’ here to mean simply any tuning with more than twelve notes per octave, though we realise that the term is sometimes defined more broadly. For example, the definition could be so broad as to include all tunings other than the one based on the ubiquitous Weste ...
... We are using the term ‘microtonal tuning’ here to mean simply any tuning with more than twelve notes per octave, though we realise that the term is sometimes defined more broadly. For example, the definition could be so broad as to include all tunings other than the one based on the ubiquitous Weste ...
Beyond Temperament: Non-Keyboard Intonation in the 17th and
... From our perspective in the late 20th century, we are introduced here to two rather startling concepts: 1 the existence of major and minor semitones (a D# different ...
... From our perspective in the late 20th century, we are introduced here to two rather startling concepts: 1 the existence of major and minor semitones (a D# different ...
Triads, 7th chords, the roman numeral harmony system, inversions
... In recalling the issues of continuity and cohesion, it is worth noting that a big point has been made to understand triads as chords in a diatonic system, meaning that a particular group of triads can all be related to a single scale. Since a scale can be heard to represent a type of melodic continu ...
... In recalling the issues of continuity and cohesion, it is worth noting that a big point has been made to understand triads as chords in a diatonic system, meaning that a particular group of triads can all be related to a single scale. Since a scale can be heard to represent a type of melodic continu ...
Pythagorean whole tone - Jacobs University Mathematics
... A scale is a discrete set of pitches arranged in such a way as to yield a maximum possible number of consonant combinations (or minimizes possible number of dissonance) when to or more notes of the set are sounded together. (Here a scale is a set of tones with mathematically defined frequency re ...
... A scale is a discrete set of pitches arranged in such a way as to yield a maximum possible number of consonant combinations (or minimizes possible number of dissonance) when to or more notes of the set are sounded together. (Here a scale is a set of tones with mathematically defined frequency re ...
AP Music Theory Syllabus
... Compose simple melodies; then compose melodies with harmonic chord progressions. Transpose melodies for Bb, F, and Eb instruments ...
... Compose simple melodies; then compose melodies with harmonic chord progressions. Transpose melodies for Bb, F, and Eb instruments ...
Blues and Other Popular Styles
... treated differently from their counterparts in classical styles. First, the seventh chord is considered as stable as the triad. Seventh chords may appear on any degree of the scale and on nearly every change of chord. Second, while in classical music chordal sevenths are considered a dissonance tha ...
... treated differently from their counterparts in classical styles. First, the seventh chord is considered as stable as the triad. Seventh chords may appear on any degree of the scale and on nearly every change of chord. Second, while in classical music chordal sevenths are considered a dissonance tha ...
Chapter 1: Introduction to Pairwise Well-Formed Scales
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
... The notion of a pairwise well-formed scale is my own extension of the theory to a class that includes (but is not limited to) some scales that incorporate the step interval of the augmented second. These scales are prominent in world musics, and have been appropriated by composers of Western art mus ...
What are Musical Scales?
... By the fourteenth century, because of corruption and economic problems, music moved away from the Church. In Western secular music, parallel thirds and sixths began to occur more often. More diverse intervals were used as well as clashing melodies and dissonance. "I believe that by the fifteenth cen ...
... By the fourteenth century, because of corruption and economic problems, music moved away from the Church. In Western secular music, parallel thirds and sixths began to occur more often. More diverse intervals were used as well as clashing melodies and dissonance. "I believe that by the fifteenth cen ...
Chapter Seven: Melody, Harmony, and Form
... chord below is played as a triad (3 notes, each a 3rd apart) with C on the bottom, providing the "root" of the chord. The G7 and F chords are not played in triad form, but are inverted in the example below. This means that the bottom tone is not the root of the chord. Inverting the tones, or placing ...
... chord below is played as a triad (3 notes, each a 3rd apart) with C on the bottom, providing the "root" of the chord. The G7 and F chords are not played in triad form, but are inverted in the example below. This means that the bottom tone is not the root of the chord. Inverting the tones, or placing ...
Musica Ficta and
... - 5th and 6th modes (the authentic and plagal form of F mode) use Bb and not B. - the necessity for the flat is twofold – to create perfect consonances in polyphony and to avoid the linear or vertical tritone, - the flat at the beginning of the staff affects the whole segment, while the ‘accidental’ ...
... - 5th and 6th modes (the authentic and plagal form of F mode) use Bb and not B. - the necessity for the flat is twofold – to create perfect consonances in polyphony and to avoid the linear or vertical tritone, - the flat at the beginning of the staff affects the whole segment, while the ‘accidental’ ...
Composing In the Flesh: Perceptually
... dissonance. The degree of roughness of an interval or chord depends on the extent to which it has spectral components within the same critical band. The critical band is related to the smallest frequency difference that will allow two pure tones to be perceptually identified as two autonomous tones ...
... dissonance. The degree of roughness of an interval or chord depends on the extent to which it has spectral components within the same critical band. The critical band is related to the smallest frequency difference that will allow two pure tones to be perceptually identified as two autonomous tones ...
Funki - QuT – Exploring ChromatiCism through Composition
... Chromatic scales are built on a set of intervals that are semi-tone apart (Figure 1). The approach to this composition is to maintain a set of chord progressions but create a melodic line that lie largely outside the associated chord scales. By creating a melody derived from a given chord scale, it ...
... Chromatic scales are built on a set of intervals that are semi-tone apart (Figure 1). The approach to this composition is to maintain a set of chord progressions but create a melodic line that lie largely outside the associated chord scales. By creating a melody derived from a given chord scale, it ...
Lesson_UUU_-_The_Maj..
... [Answer: C. Response if correct: “Correct! This scale is spelled incorrectly. Although this scale is 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 ke ...
... [Answer: C. Response if correct: “Correct! This scale is spelled incorrectly. Although this scale is 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 ke ...
eVirtuoso-Online Lessons Chords Lesson 3
... of Static Harmony (CESH). For example, playing a D major chord for several measures is a motionless chord progression because there is no motion or change in the chord progression. Instead, try a D/C#-D/C-D/B-D/Bb descending bass run to add more variety and interest. CESH chord progressions have a h ...
... of Static Harmony (CESH). For example, playing a D major chord for several measures is a motionless chord progression because there is no motion or change in the chord progression. Instead, try a D/C#-D/C-D/B-D/Bb descending bass run to add more variety and interest. CESH chord progressions have a h ...
The Triad in First Inversion: Tonic, Subdominant, and Dominant Triads
... century until the beginning of the 20th century, this preparation and resolution is necessary. Bach used the second inversion less often than one would expect. The following table shows the five second inversion chords and their use. ...
... century until the beginning of the 20th century, this preparation and resolution is necessary. Bach used the second inversion less often than one would expect. The following table shows the five second inversion chords and their use. ...
Clarinet Warm-Up
... The most important part of any day's practice time is the warm up period. I have a comprehensive warm-up that I use daily in my teaching and playing. I feel that each aspect of the warm-up should lead to the next, and that the objective should be a warm up of all muscle groups from large to small. T ...
... The most important part of any day's practice time is the warm up period. I have a comprehensive warm-up that I use daily in my teaching and playing. I feel that each aspect of the warm-up should lead to the next, and that the objective should be a warm up of all muscle groups from large to small. T ...
Introduction to Reading Music Homework 5 15-212, Fall 2006
... sequence one after the other, it may be very hard for a player to keep track of where she is at a particular point of time. Keeping the performer’s convenience in mind, music is divided into sets of notes called measures or bars. Measure boundaries are indicated in music by vertical lines across the ...
... sequence one after the other, it may be very hard for a player to keep track of where she is at a particular point of time. Keeping the performer’s convenience in mind, music is divided into sets of notes called measures or bars. Measure boundaries are indicated in music by vertical lines across the ...
Intervals - cshchoir.org
... 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 ...
Daniel Liles
... pivot chord leading to a new key. This is the device Rameau implements in twelve measures after the Reprise in L’Enharmonique—the climax of the piece. This effect produced in these two measures results from two diminished seventh chords that are composed next to one another measures 53 and 54—one im ...
... pivot chord leading to a new key. This is the device Rameau implements in twelve measures after the Reprise in L’Enharmonique—the climax of the piece. This effect produced in these two measures results from two diminished seventh chords that are composed next to one another measures 53 and 54—one im ...
Quick Guide To Chord Charts The term harmonic rhythm refers to
... The term harmonic rhythm refers to the sequence of chords (harmonies) that governs a song or other musical work, and to the timing (rhythm) of the changes from each chord to the next. It is relatively easy to devise a rhythm guitar accompaniment once the harmonic rhythm of the music to be accompanie ...
... The term harmonic rhythm refers to the sequence of chords (harmonies) that governs a song or other musical work, and to the timing (rhythm) of the changes from each chord to the next. It is relatively easy to devise a rhythm guitar accompaniment once the harmonic rhythm of the music to be accompanie ...
Expanded Tonality in Quartal Space: Back to Debussy`s
... hidden in the piece pseudo or expanded tonal functions behind a colorful, exotic-sounding (since non-triadic) harmony, which will also guide our investigation. Fourth Circles At first glance or listening, the Étude quickly reveals the recurring pitch-class of F as a melodic or harmonic center. Howev ...
... hidden in the piece pseudo or expanded tonal functions behind a colorful, exotic-sounding (since non-triadic) harmony, which will also guide our investigation. Fourth Circles At first glance or listening, the Étude quickly reveals the recurring pitch-class of F as a melodic or harmonic center. Howev ...
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.