INTERVALS INTERVAL size and quality
... The tritone is a key-defining interval; you know what the tonic is from the resolution of the tritone. ...
... The tritone is a key-defining interval; you know what the tonic is from the resolution of the tritone. ...
CADENCES AND PHRASES
... music. By structuring cadences so that the weaker ones come first, the music is apt to feel like it is gradually unfolding and building up (moving) towards a more conclusive goal. In this sense, a period is a macrocosmic example of how scales and progressions operate: having a sense of logical motio ...
... music. By structuring cadences so that the weaker ones come first, the music is apt to feel like it is gradually unfolding and building up (moving) towards a more conclusive goal. In this sense, a period is a macrocosmic example of how scales and progressions operate: having a sense of logical motio ...
Melody
... minor scales, and sometimes the other scales introduced in this chapter. But many cultures base their music on entirely different scale patterns composed of tones we cannot reproduce on a keyboard, restricted as it is to half steps as the smallest interval. Microtones (lying between the tones of a h ...
... minor scales, and sometimes the other scales introduced in this chapter. But many cultures base their music on entirely different scale patterns composed of tones we cannot reproduce on a keyboard, restricted as it is to half steps as the smallest interval. Microtones (lying between the tones of a h ...
Compositional trajectories [Medieval music]
... notions of scales generated by adjacent and overlapping tetrachords, of mode as scale, and especially of mode as octave species comprised of species of fourths and fifths - a body of concepts that the Franks did not fully understand - eventually dominated the standard explanation of mode in the late ...
... notions of scales generated by adjacent and overlapping tetrachords, of mode as scale, and especially of mode as octave species comprised of species of fourths and fifths - a body of concepts that the Franks did not fully understand - eventually dominated the standard explanation of mode in the late ...
scales and key signatures edition a subcourse overview
... specified interval scheme. An interval is the difference in pitch between tones. Music depends on the succession of pitches and certain measurable patterns of intervals used with regularity. These patterns may be extracted from musical examples, arranged in order, and expressed as scales. The basic ...
... specified interval scheme. An interval is the difference in pitch between tones. Music depends on the succession of pitches and certain measurable patterns of intervals used with regularity. These patterns may be extracted from musical examples, arranged in order, and expressed as scales. The basic ...
Pitch
... • There are two types of level tone languages: those with downtrend, which are unsuitable to compare to music, and those that do not downtrend (“discrete level-‐tone languages”). • Welmers 1973 describes ...
... • There are two types of level tone languages: those with downtrend, which are unsuitable to compare to music, and those that do not downtrend (“discrete level-‐tone languages”). • Welmers 1973 describes ...
Lesson_CCC_-_The_Min..
... of which have a dominant function. If these chords were built using the pitches of the natural minor scale, V would be minor (v) and vii° would be major (VII). Neither v nor VII fulfill the dominant function very well. Listen again to Example 6 and then compare it to Example 7. Which version of the ...
... of which have a dominant function. If these chords were built using the pitches of the natural minor scale, V would be minor (v) and vii° would be major (VII). Neither v nor VII fulfill the dominant function very well. Listen again to Example 6 and then compare it to Example 7. Which version of the ...
Book 3 - Advanced
... To reduce the number of keys on keyboard instruments, the modern scale was created, and became known as the mean tempered scale. During the 18th century, J.S. Bach, using the mean tempered scale, produced a series of ‘piano pieces’ which were structured so that in each, a different semitone was used ...
... To reduce the number of keys on keyboard instruments, the modern scale was created, and became known as the mean tempered scale. During the 18th century, J.S. Bach, using the mean tempered scale, produced a series of ‘piano pieces’ which were structured so that in each, a different semitone was used ...
Basic Music Theory - 547 Canuck Squadron
... The time signature appears at the beginning of the music after the clef sign. It is made up of two numbers; one on top of the other. the upper number tells how many beats (or counts) are in each measure. In this example, 4. the lower number tell what type of note receives the beat (1). In this examp ...
... The time signature appears at the beginning of the music after the clef sign. It is made up of two numbers; one on top of the other. the upper number tells how many beats (or counts) are in each measure. In this example, 4. the lower number tell what type of note receives the beat (1). In this examp ...
From Franz Liszt`s Late Piano Works to Analyze His
... The use of the pentatonic scale and pentatonic mode To delete two scale degrees from the diatonic major scale, we can get the pentatonic scale. From the interval relationships of the five cadre sound, the pentatonic scale is short of shrill sound effects. Engagement is one work of his lifetime. At t ...
... The use of the pentatonic scale and pentatonic mode To delete two scale degrees from the diatonic major scale, we can get the pentatonic scale. From the interval relationships of the five cadre sound, the pentatonic scale is short of shrill sound effects. Engagement is one work of his lifetime. At t ...
Lesson_LLL_-_Mixture..
... In m. 25, notice that scale degree 3 has been lowered from D# to D§. Instead of a I chord (B major), a i chord (B minor) appears there. The effect is striking. Why would Schubert make such an alteration at this point? Looking at the text of the song, we find the narrator speaking to a brook that led ...
... In m. 25, notice that scale degree 3 has been lowered from D# to D§. Instead of a I chord (B major), a i chord (B minor) appears there. The effect is striking. Why would Schubert make such an alteration at this point? Looking at the text of the song, we find the narrator speaking to a brook that led ...
Pitch Drift in Choral Music - CCRMA
... Symphony Chorus mentions that “major intervals are very bright.” Barbour, in his book [3] shows his interest in this issue. “With modal progressions, as in Palestrina, it is more likely to remain stationary... If the music contains much the chromaticism and remote modulations, even the best-trained ...
... Symphony Chorus mentions that “major intervals are very bright.” Barbour, in his book [3] shows his interest in this issue. “With modal progressions, as in Palestrina, it is more likely to remain stationary... If the music contains much the chromaticism and remote modulations, even the best-trained ...
Haydn: London Symphony, No.104
... Bar 3 – quiet answering phrase in strings and first bassoon brings a contrast of dynamic, instrumentation and texture (now homophonic). The overall range of pitches is narrower than the opening fanfare, and the movement is conjunct. However, note continued use of the double dotted rhythm, though the ...
... Bar 3 – quiet answering phrase in strings and first bassoon brings a contrast of dynamic, instrumentation and texture (now homophonic). The overall range of pitches is narrower than the opening fanfare, and the movement is conjunct. However, note continued use of the double dotted rhythm, though the ...
PITCH AND PITCH CLASS - Mr. Deininger`s Page
... Accidentals - sharp or flat changing a pitch from its “natural” state Flat - lower the pitch by one half-step; key below (to the left) Sharp - raises the pitch by one half-step; key above (to the right) Natural - no sharp or flats (white keys of the piano) ...
... Accidentals - sharp or flat changing a pitch from its “natural” state Flat - lower the pitch by one half-step; key below (to the left) Sharp - raises the pitch by one half-step; key above (to the right) Natural - no sharp or flats (white keys of the piano) ...
Half Steps and Whole Steps
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
Consonance in Music and Mathematics: Application
... consonance in the different intervals constituting the scale. The goal of what is called a temperament is to find a tuning system capable of optimizing these features within a scale. Therefore, a computational method shall be developed to output the consonance between two musical notes, in the range ...
... consonance in the different intervals constituting the scale. The goal of what is called a temperament is to find a tuning system capable of optimizing these features within a scale. Therefore, a computational method shall be developed to output the consonance between two musical notes, in the range ...
Pitch
... • There are two types of level tone languages: those with downtrend, which are unsuitable to compare to music, and those that do not downtrend (“discrete level-‐tone languages”). • Welmers 1973 describes ...
... • There are two types of level tone languages: those with downtrend, which are unsuitable to compare to music, and those that do not downtrend (“discrete level-‐tone languages”). • Welmers 1973 describes ...
Complex Chords Table of Content
... are only four different types of triads: • (Root, M3, m3) -> major triad; e.g. (C, E, G) = C • (Root, M3, M3) -> augmented triad; e.g. (C, E, G#) = Caug • (Root, m3, M3) -> minor triad; e.g. (C, Eb, G) = Cm • (Root, m3, m3) -> semi-diminished triad; e.g. (C, Eb, Gb) = Cm(b5) In all these formulas, t ...
... are only four different types of triads: • (Root, M3, m3) -> major triad; e.g. (C, E, G) = C • (Root, M3, M3) -> augmented triad; e.g. (C, E, G#) = Caug • (Root, m3, M3) -> minor triad; e.g. (C, Eb, G) = Cm • (Root, m3, m3) -> semi-diminished triad; e.g. (C, Eb, Gb) = Cm(b5) In all these formulas, t ...
Lesson_CCC_-_The_Min..
... sense of resolution. The same would be true of a progression using VII instead of vii°. Because the major scale already already has a leading tone, these issues do not come up in major keys. By making these alterations to the minor scale, we are compensating for its structural shortcomings by borrow ...
... sense of resolution. The same would be true of a progression using VII instead of vii°. Because the major scale already already has a leading tone, these issues do not come up in major keys. By making these alterations to the minor scale, we are compensating for its structural shortcomings by borrow ...
Half Steps - funmusiccoimages.com
... What note is a whole step higher than A? ______ What note is a whole step lower than E? ______ What note is a whole step higher than B? ______ What note is a whole step lower than G sharp? ______ Circle the whole steps in this melody: ...
... What note is a whole step higher than A? ______ What note is a whole step lower than E? ______ What note is a whole step higher than B? ______ What note is a whole step lower than G sharp? ______ Circle the whole steps in this melody: ...
Physics 193 Physics of Music
... which is a Pythagorean diatonic semitone. The interval (frequency ratio): F - F# = 729/512 / 4/3 = 2187/2048 = 1.068, which is known as a Pythagorean chromatic semitone. Thus, there are two different sizes of semitones: Pythagorean Wholetone ...
... which is a Pythagorean diatonic semitone. The interval (frequency ratio): F - F# = 729/512 / 4/3 = 2187/2048 = 1.068, which is known as a Pythagorean chromatic semitone. Thus, there are two different sizes of semitones: Pythagorean Wholetone ...
A Farewell to the Avant-garde— Krzesany by Wojciech Kilar
... influences of highland folklore were basically imperceptible (for example, the ‘Highland Dance’ from Moniuszko’s Halka has little in common with highlanders’ authentic dances); later, the situation was reversed, to which fact, no doubt, acquaintance with the authentic music of the Podhale highland r ...
... influences of highland folklore were basically imperceptible (for example, the ‘Highland Dance’ from Moniuszko’s Halka has little in common with highlanders’ authentic dances); later, the situation was reversed, to which fact, no doubt, acquaintance with the authentic music of the Podhale highland r ...
Lesson_CCC_-_The_Min..
... their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discussed in lesson XXX). Listen again to Example 6 and then compare it to Example 7. Which version of the V chord has a stronger pull back to tonic? The addition of a leading tone gives Example 7 gives ...
... their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discussed in lesson XXX). Listen again to Example 6 and then compare it to Example 7. Which version of the V chord has a stronger pull back to tonic? The addition of a leading tone gives Example 7 gives ...
12-tone technique
... • There are four types of combinatoriality, corresponding with the four forms of a row: Prime, Inversional, Retrograde-Inversional, and Regrograde (which is trivial, since every 12-tone row is combinatorial with its own retrograde. Because of this, Babbitt, who came up with this term, originally exc ...
... • There are four types of combinatoriality, corresponding with the four forms of a row: Prime, Inversional, Retrograde-Inversional, and Regrograde (which is trivial, since every 12-tone row is combinatorial with its own retrograde. Because of this, Babbitt, who came up with this term, originally exc ...
Introduction to the CAGED System,Part One
... regardless of style, you would probably find dominant seventh chords to be the most common in all modern music. Blues and Jazz guitarists are rarely content to play straight triads; usually they substitute triads with chords containing sevenths. In fact, sevenths are the minimum most Jazz musicians ...
... regardless of style, you would probably find dominant seventh chords to be the most common in all modern music. Blues and Jazz guitarists are rarely content to play straight triads; usually they substitute triads with chords containing sevenths. In fact, sevenths are the minimum most Jazz musicians ...
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.