Sonata Form
... form than in the traditional binary and ternary forms. Although clear antecedentconsequent phrase periods can be found, it is common to hear several antecedent phrases in a row to keep the music driving forward. The ending of one phrase often overlaps the beginning of the next (a process called elis ...
... form than in the traditional binary and ternary forms. Although clear antecedentconsequent phrase periods can be found, it is common to hear several antecedent phrases in a row to keep the music driving forward. The ending of one phrase often overlaps the beginning of the next (a process called elis ...
In the Style of: George Benson Blues!
... Finally, for lick #5, we have two fairly different sets of harmony for the same lick. In example A we have a dominant 7th chord, the IV in an F blues, and in example B a II - V - I progression. Lets take a look to see why this might work... In example A the lick begins with a chromatic approach to B ...
... Finally, for lick #5, we have two fairly different sets of harmony for the same lick. In example A we have a dominant 7th chord, the IV in an F blues, and in example B a II - V - I progression. Lets take a look to see why this might work... In example A the lick begins with a chromatic approach to B ...
Ornamentation in Music
... A neighboring tone that is a step higher than the surrounding chord tones is called an upper neighboring tone or an upper auxiliary note while a neighboring tone that is a step lower than the surrounding chord tones is a lower neighboring tone or lower auxiliary note. Passing Tone: A passing tone is ...
... A neighboring tone that is a step higher than the surrounding chord tones is called an upper neighboring tone or an upper auxiliary note while a neighboring tone that is a step lower than the surrounding chord tones is a lower neighboring tone or lower auxiliary note. Passing Tone: A passing tone is ...
The demise of number ratios in music theory
... tempo, and vibrato. Just intonation is occasionally approached in the special case of slow tempo and no vibrato, but the reason is to minimize roughness and beating - not to approach ratios. Theoretically, intonation is related to consonance and dissonance, which depends on roughness, harmonicity, f ...
... tempo, and vibrato. Just intonation is occasionally approached in the special case of slow tempo and no vibrato, but the reason is to minimize roughness and beating - not to approach ratios. Theoretically, intonation is related to consonance and dissonance, which depends on roughness, harmonicity, f ...
Scales and temperaments: the fivefold way
... Scales based around the octave are categorized by Barbour [4] into ve broad groups: Pythagorean, just, meantone, equal, and irregular systems. The title of this chapter refers to this vefold classi cation, and to the interval of a perfect fth as the starting point for the development of scales. W ...
... Scales based around the octave are categorized by Barbour [4] into ve broad groups: Pythagorean, just, meantone, equal, and irregular systems. The title of this chapter refers to this vefold classi cation, and to the interval of a perfect fth as the starting point for the development of scales. W ...
AP® Music Theory 2012 Scoring Guidelines
... 5. A chordal seventh approached by a descending leap. D. Award 0 points for voice leading between two correctly realized chords (as defined in II.A.) if any one of the following statements is true: 1. Parallel octaves, fifths, or unisons occur (immediately successive or on successive beats), includi ...
... 5. A chordal seventh approached by a descending leap. D. Award 0 points for voice leading between two correctly realized chords (as defined in II.A.) if any one of the following statements is true: 1. Parallel octaves, fifths, or unisons occur (immediately successive or on successive beats), includi ...
Kievan notation
... Znamenny Chant (and for later chant systems), they settled upon only one position for “DO”: the middle line of the staff, which does not require any “key signature”. (Other regional varieties of Kievan chant sometimes move the position of “DO” around, requiring a couple key signatures, but this is n ...
... Znamenny Chant (and for later chant systems), they settled upon only one position for “DO”: the middle line of the staff, which does not require any “key signature”. (Other regional varieties of Kievan chant sometimes move the position of “DO” around, requiring a couple key signatures, but this is n ...
Analysis of ``Kol Nidrei
... later chord progressions of this melody, an E does appear in the piano part, forcing these later chords to be E°. The next time this main melody appears is from measures 13-16, directly after the previous instance of this melody. This time, the viola part is shifted directly by one octave, though th ...
... later chord progressions of this melody, an E does appear in the piano part, forcing these later chords to be E°. The next time this main melody appears is from measures 13-16, directly after the previous instance of this melody. This time, the viola part is shifted directly by one octave, though th ...
Tonal Function in Harmonic Scales
... they cannot be improved by alteration and they are inherently well-related. Therefore, all non-prototypical triad progressions (with the exception of the ‘difficult’ eighth progression c ↔ D, or iii ↔ IV) are heard as alterations of these seven prototypes.11 Normalisation of alterations All interva ...
... they cannot be improved by alteration and they are inherently well-related. Therefore, all non-prototypical triad progressions (with the exception of the ‘difficult’ eighth progression c ↔ D, or iii ↔ IV) are heard as alterations of these seven prototypes.11 Normalisation of alterations All interva ...
MTO 18.2: Sly, Review of Damschroder
... from our standard-practice Roman-numeral/figured-bass alloy are, most notably, indications of secondary or applied function and figured-bass numbers used to indicate chordal inversion. For example, an A-major triad in G major is not V/V, but II ; that is, the Roman numeral invariably corresponds to ...
... from our standard-practice Roman-numeral/figured-bass alloy are, most notably, indications of secondary or applied function and figured-bass numbers used to indicate chordal inversion. For example, an A-major triad in G major is not V/V, but II ; that is, the Roman numeral invariably corresponds to ...
On the Emergence of the Major-Minor System
... remaining pitches of the scale, with the pitches of the chromatic set exhibiting the least stability and occurring the least frequently. Tones are readily perceived according to their functions or positions within this diatonic set. Following up on Krumhansl’s work, Huron (2006) showed how simple st ...
... remaining pitches of the scale, with the pitches of the chromatic set exhibiting the least stability and occurring the least frequently. Tones are readily perceived according to their functions or positions within this diatonic set. Following up on Krumhansl’s work, Huron (2006) showed how simple st ...
Harmonic Language in The Legend of Zelda: Ocarina of Time
... from mm. 5 to 6, as demonstrated in example 7. This reduction of the lower part demonstrates how the B-flat from the middle voice moves upwards by tone, thus avoiding the semitone ...
... from mm. 5 to 6, as demonstrated in example 7. This reduction of the lower part demonstrates how the B-flat from the middle voice moves upwards by tone, thus avoiding the semitone ...
(pdf)
... The chromatic scale and diatonic scale are two sets of musical notes which form a basis for much of western music. Another way to understand these structures, besides the classical music theory approach, is to represent them as groups, and then to depict them as graphs called the Generalized Tonnetz ...
... The chromatic scale and diatonic scale are two sets of musical notes which form a basis for much of western music. Another way to understand these structures, besides the classical music theory approach, is to represent them as groups, and then to depict them as graphs called the Generalized Tonnetz ...
Intonation Variables in the Performance of Twelve
... enharmonic notation possibilities, is intended as a music having only twelve different “pitch classes”; yet the intonation scheme favored by string players, unconsciously to a great extent, involves between twenty and thirty audibly distinguishable pitches in an octave. Some present-day composers3 h ...
... enharmonic notation possibilities, is intended as a music having only twelve different “pitch classes”; yet the intonation scheme favored by string players, unconsciously to a great extent, involves between twenty and thirty audibly distinguishable pitches in an octave. Some present-day composers3 h ...
Generating Guitar Scores from a MIDI Source
... have made this capability as one of their features. Therefore, we do not describe this process in details. For more information on this topic, see [1]0. 3.2. Chord matching: The goal in this step is to select appropriate chords for the simple score using an appropriate sampling frequency. The main p ...
... have made this capability as one of their features. Therefore, we do not describe this process in details. For more information on this topic, see [1]0. 3.2. Chord matching: The goal in this step is to select appropriate chords for the simple score using an appropriate sampling frequency. The main p ...
MUSIC THEORY BASIC Jonathan Harnum HOW TO READ, WRITE, AND
... discord: Dissonant sounds or sounds unpleasant to the ear. disjunct: Moving by intervals larger than a second. dissonance: Sounds unpleasant to the ear. divisi, div. (It): Indication for separate parts written on one staff. To be played by two or more performers. do: The first note (tonic) of a diat ...
... discord: Dissonant sounds or sounds unpleasant to the ear. disjunct: Moving by intervals larger than a second. dissonance: Sounds unpleasant to the ear. divisi, div. (It): Indication for separate parts written on one staff. To be played by two or more performers. do: The first note (tonic) of a diat ...
The Bohlen-Pierce Clarinet An Introduction to Acoustics and Playing
... likes to discover the instrument's soft-sounding multiphonics. In the whole, the BohlenPierce soprano clarinet is of the same length as a b♭ clarinet with a sounding d (notated e) as the bottom note. Compared to a b♭ clarinet, it has a considerably shorter upper joint and accordingly a longer lower ...
... likes to discover the instrument's soft-sounding multiphonics. In the whole, the BohlenPierce soprano clarinet is of the same length as a b♭ clarinet with a sounding d (notated e) as the bottom note. Compared to a b♭ clarinet, it has a considerably shorter upper joint and accordingly a longer lower ...
The Geometry of Musical Chords Eric Thul Dr. Godfried Toussaint COMP644
... voices, we must take care at the choices of each transition. This was also present in the example of two voices, but with four voices, the idea stands out. This presents an important topic which is the basis for our discussion here today: voice leading. We can define voice leading to be the intera ...
... voices, we must take care at the choices of each transition. This was also present in the example of two voices, but with four voices, the idea stands out. This presents an important topic which is the basis for our discussion here today: voice leading. We can define voice leading to be the intera ...
Keyboard FUNdamentals
... Rhythmic groupings - primarily quarter notes, eighth notes, and half notes Form - first phrase repeats; second phrase is the same two and a half measures twice; first and third phrases conclude with the same material Note Grouping: Scale Fragments - brackets on all sets of three or more notes moving ...
... Rhythmic groupings - primarily quarter notes, eighth notes, and half notes Form - first phrase repeats; second phrase is the same two and a half measures twice; first and third phrases conclude with the same material Note Grouping: Scale Fragments - brackets on all sets of three or more notes moving ...
What are the years of the Baroque Period?
... WHAT IS A MUSICAL FORM WHERE THE MELODY OR TUNE IS IMITATED BY INDIVIDUAL PARTS? A. B. C. ...
... WHAT IS A MUSICAL FORM WHERE THE MELODY OR TUNE IS IMITATED BY INDIVIDUAL PARTS? A. B. C. ...
Automatic Chord Detection - People Pages
... For our final example, we look at how C HORDINO analyzed the first four measures of Debussy’s Sarabande. We used a recording of the piece by Claudio Arrau (Arrau, 2006). The score for the first four measures is shown at the top of Figure 6. The spectrogram for the piece, along with C HORDINO’s analy ...
... For our final example, we look at how C HORDINO analyzed the first four measures of Debussy’s Sarabande. We used a recording of the piece by Claudio Arrau (Arrau, 2006). The score for the first four measures is shown at the top of Figure 6. The spectrogram for the piece, along with C HORDINO’s analy ...
Mazzola`s Counterpoint Theory - Dmitri Tymoczko
... (C4, G4)(C5, F5), in which crossed voices articulate a pair of perfect fifths in register.5 Thus he is concerned with a very specific kind of melodic motion, rather than a general harmonic situation in which one seven-semitone pitch-class interval follows another. Figure 1 shows that Fux is here be ...
... (C4, G4)(C5, F5), in which crossed voices articulate a pair of perfect fifths in register.5 Thus he is concerned with a very specific kind of melodic motion, rather than a general harmonic situation in which one seven-semitone pitch-class interval follows another. Figure 1 shows that Fux is here be ...
Tonal Harmony Introduction
... consists of two pitches whose frequencies are in the ratio of 1:2, separated by 12 half steps ...
... consists of two pitches whose frequencies are in the ratio of 1:2, separated by 12 half steps ...
Playing Musical Tiles - SJU
... as possible. In order to achieve this, voice-crossing—occurring when two voices change positions in the ordering of voices from low to high—is avoided. If we restrict ourselves to twelve-tone equal temperament, the closest distinct chords are those that differ by a semitone in one voice only (note ...
... as possible. In order to achieve this, voice-crossing—occurring when two voices change positions in the ordering of voices from low to high—is avoided. If we restrict ourselves to twelve-tone equal temperament, the closest distinct chords are those that differ by a semitone in one voice only (note ...
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.