Benward Chapter 6
... Organized in scales, with key signatures that show immediately what tonal materials can be expected in a piece of music and placed together simultaneously to produce intervals or chords ...
... Organized in scales, with key signatures that show immediately what tonal materials can be expected in a piece of music and placed together simultaneously to produce intervals or chords ...
Music Theory Vocabulary - Trinity Bend Performing Arts
... V-vi; tonic to submediant instead of the expected V-I Cadences which end on the dominant, such as the first phrase of a period ...
... V-vi; tonic to submediant instead of the expected V-I Cadences which end on the dominant, such as the first phrase of a period ...
Music Theory Combination Tones
... pitches, first , second, and third order combination tones were listed in spreadsheet form, and also transferred to musical notation. This in itself is of some interest, as it present a kind of factored tree branching off from a given internal. It is a kind of related pitch set which may in itself p ...
... pitches, first , second, and third order combination tones were listed in spreadsheet form, and also transferred to musical notation. This in itself is of some interest, as it present a kind of factored tree branching off from a given internal. It is a kind of related pitch set which may in itself p ...
A2 2, Part 2: Written Examination (MS)
... and writing down the pitches, rhythms etc. indicated by the numbers • dynamics/attack do not change with every note but only when an entire series of pitches/duration has been completed • pitches are distributed over a wide register creating fragmented sounds • Second section of Structures ...
... and writing down the pitches, rhythms etc. indicated by the numbers • dynamics/attack do not change with every note but only when an entire series of pitches/duration has been completed • pitches are distributed over a wide register creating fragmented sounds • Second section of Structures ...
Lesson_SSS_-_Diatoni..
... 10 – 7—until the pattern is broken in m. 9. Such patterns are sometimes referred to as linear intervallic patterns, or, LIPs for short. Each of the sequences discussed in this lesson can be similarly analyzed as LIPs. Descending-fifth sequences: Sequences in which the chord roots descend by fifth ar ...
... 10 – 7—until the pattern is broken in m. 9. Such patterns are sometimes referred to as linear intervallic patterns, or, LIPs for short. Each of the sequences discussed in this lesson can be similarly analyzed as LIPs. Descending-fifth sequences: Sequences in which the chord roots descend by fifth ar ...
"Three Beats for Beatbox Flute" by Greg Patillo In 2011, the National
... created by these two notes is an octave. On the spectrogram, however, frequencies of other than that of the note F can be seen in the fundamental and higher frequencies, labeled by arrows A in Figure 7. The lowest arrow A shows a group of dissonant harmonics. When listening to the recording, this m ...
... created by these two notes is an octave. On the spectrogram, however, frequencies of other than that of the note F can be seen in the fundamental and higher frequencies, labeled by arrows A in Figure 7. The lowest arrow A shows a group of dissonant harmonics. When listening to the recording, this m ...
Musical expectancy
... Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors ...
... Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors ...
Notes - Stanford University
... force. This creates the graphs of oscillation magnitude displayed above, which the brain perceives as pure pitches [3].) ...
... force. This creates the graphs of oscillation magnitude displayed above, which the brain perceives as pure pitches [3].) ...
Name
... F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A major arpeggio is AC#EA; F# minor arpeggio is F#AC#F# ...
... F sharp; G major arpeggio is GBDG; E minor arpeggio is EGBE 33. The key signature for D Major and B Minor is: F sharp & C sharp; D major arpeggio is DF#AD; B minor arpeggio is BDF#B 34. The key signature for A Major and F# Minor is: F#, C#, G#; A major arpeggio is AC#EA; F# minor arpeggio is F#AC#F# ...
38. Schubert Der Doppelgänger Background information and performance circumstances 1
... major 3rd above the tonic B minor, a distant and striking ‘tertiary’ relationship. ...
... major 3rd above the tonic B minor, a distant and striking ‘tertiary’ relationship. ...
Establishing the Elements of Music Groundwork
... Pitches are represented within the highness or lowness of a musical sound. This wide spectrum of notes is also referred to as range. Individual pitches are represented by the vibrations per second which, in turn, creates a fundamental frequency of sound. ...
... Pitches are represented within the highness or lowness of a musical sound. This wide spectrum of notes is also referred to as range. Individual pitches are represented by the vibrations per second which, in turn, creates a fundamental frequency of sound. ...
Establishing the Elements of Music Groundwork
... Pitches are represented within the highness or lowness of a musical sound. This wide spectrum of notes is also referred to as range. Individual pitches are represented by the vibrations per second which, in turn, creates a fundamental frequency of sound. ...
... Pitches are represented within the highness or lowness of a musical sound. This wide spectrum of notes is also referred to as range. Individual pitches are represented by the vibrations per second which, in turn, creates a fundamental frequency of sound. ...
General Principles of Harmony by Alan Belkin
... human brain's highly evolved capacities for making sense of auditory experience have surely not changed over the past few centuries. Another, related method, consists of intensive drill with harmonic formulas. Based on the notion that harmony, like language, uses many idioms, the goal here is to lea ...
... human brain's highly evolved capacities for making sense of auditory experience have surely not changed over the past few centuries. Another, related method, consists of intensive drill with harmonic formulas. Based on the notion that harmony, like language, uses many idioms, the goal here is to lea ...
Playing Melodically and Harmonically in Tune Michael Kimber One
... and other keyboard instruments. Equal temperament, a scale of twelve equal semitones, enables keyboard instruments to sound tolerably well in tune in any key. However, fitting all intervals of all keys into a scale of only twelve equally-spaced notes per octave requires compromises in the tuning of ...
... and other keyboard instruments. Equal temperament, a scale of twelve equal semitones, enables keyboard instruments to sound tolerably well in tune in any key. However, fitting all intervals of all keys into a scale of only twelve equally-spaced notes per octave requires compromises in the tuning of ...
what is harmony
... The reason for the name “dominant” is that the notes of a major scale are all given names as well as Roman numerals. The first note (I) (also known as the “home” or “keynote”) is, as mentioned above, called the “tonic”. The second (II) is called the super-tonic (because it’s “above” the tonic); the ...
... The reason for the name “dominant” is that the notes of a major scale are all given names as well as Roman numerals. The first note (I) (also known as the “home” or “keynote”) is, as mentioned above, called the “tonic”. The second (II) is called the super-tonic (because it’s “above” the tonic); the ...
From Franz Liszt`s Late Piano Works to Analyze His
... his late mental anguish life, reflecting his afraid and sad emotions to his weak body. So the players should realize his lonely and lost emotions to have a good control of the tritone. The continuous use of the augmented triad The augmented triad, one of the extremely dissonant chords, is consisted ...
... his late mental anguish life, reflecting his afraid and sad emotions to his weak body. So the players should realize his lonely and lost emotions to have a good control of the tritone. The continuous use of the augmented triad The augmented triad, one of the extremely dissonant chords, is consisted ...
The Geometry of Musical Chords REPORTS
... This central feature of Western counterpoint is made possible by composers_ interest in the harmonic property of acoustic consonance. A chord with duplicate pitch classes is permutationally symmetrical (P-symmetrical) because there is some nontrivial permutation of its notes that is a trivial voice ...
... This central feature of Western counterpoint is made possible by composers_ interest in the harmonic property of acoustic consonance. A chord with duplicate pitch classes is permutationally symmetrical (P-symmetrical) because there is some nontrivial permutation of its notes that is a trivial voice ...
Appendix 1 Musical Terms
... Clef A sign placed at the beginning of a staff that names particular pitches: F, G, or C. Coda It. “Tail”: an extended ending. Common time The time signature C or 4/4 time; simple quadruple meter with the quarter note as the pulse note. Compound interval An interval larger than an octave. Consequent ...
... Clef A sign placed at the beginning of a staff that names particular pitches: F, G, or C. Coda It. “Tail”: an extended ending. Common time The time signature C or 4/4 time; simple quadruple meter with the quarter note as the pulse note. Compound interval An interval larger than an octave. Consequent ...
Cadences - AState.edu
... Must have the following: 1) I (root position) 2) V (root position) 3) Tonic scale degree in soprano of I chord The PAC is the strongest cadence and it is frequently found at the very end of a composition. Why is it the strongest? Because not only does the progression V-I strongly create the sense of ...
... Must have the following: 1) I (root position) 2) V (root position) 3) Tonic scale degree in soprano of I chord The PAC is the strongest cadence and it is frequently found at the very end of a composition. Why is it the strongest? Because not only does the progression V-I strongly create the sense of ...
Appendix 1
... Relative key A major and minor scale that share the same key signature but not the same tonic note; for example, C major and A minor. Repeat sign ( ] } ) Two vertical lines with two dots placed in front or after the lines, instructing the musician to repeat a section. Rest A symbol to represent a sp ...
... Relative key A major and minor scale that share the same key signature but not the same tonic note; for example, C major and A minor. Repeat sign ( ] } ) Two vertical lines with two dots placed in front or after the lines, instructing the musician to repeat a section. Rest A symbol to represent a sp ...
69s and pentatonics
... the minor pentatonic scale and lower the 5th by a semitone. In some funky music you also get a pentatonic chord played against a chord based on the same note as the start of the scale, ie. a C major pentatonic or m69 scale played against a C chord. Bear in mind that major seventh chords are not used ...
... the minor pentatonic scale and lower the 5th by a semitone. In some funky music you also get a pentatonic chord played against a chord based on the same note as the start of the scale, ie. a C major pentatonic or m69 scale played against a C chord. Bear in mind that major seventh chords are not used ...
Dictionary of Musical Terms
... Instrumentation - The art of composing, orchestrating, or arranging for an instrumental ensemble. Interval - The difference in pitch between two tones. Inversion - As applied to music the term may be used in both melody and harmony. Melodic inversion: an exchange of ascending and descending movemen ...
... Instrumentation - The art of composing, orchestrating, or arranging for an instrumental ensemble. Interval - The difference in pitch between two tones. Inversion - As applied to music the term may be used in both melody and harmony. Melodic inversion: an exchange of ascending and descending movemen ...
The Great Highland Bagpipe Plays in WHAT Key?
... sounding together are heard as a consonance (a smooth, pleasant combination of notes.) • This occurs when the ratio of their frequencies is a fraction with small integers in the numerator and denominator. ...
... sounding together are heard as a consonance (a smooth, pleasant combination of notes.) • This occurs when the ratio of their frequencies is a fraction with small integers in the numerator and denominator. ...
Figured Bass and Tonality Recognition
... Figure 3. Gavotte from French Suite n°5 by J.-S. Bach, measure 8 In this Gavotte, whose figured bass is given below (see Figure 11), the harmony is a seventh chord on the dominant of D (A - C# - E - G). But in some other contexts, it can be a sixth chord on the root of F# (this analysis being the on ...
... Figure 3. Gavotte from French Suite n°5 by J.-S. Bach, measure 8 In this Gavotte, whose figured bass is given below (see Figure 11), the harmony is a seventh chord on the dominant of D (A - C# - E - G). But in some other contexts, it can be a sixth chord on the root of F# (this analysis being the on ...
Consonance and dissonance
In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion: a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. Consonance and dissonance define a level of sweetness / harshness, pleasantness / unpleasantness, acceptability / unacceptability, of the sounds or intervals under consideration. As Hindemith stressed, ""The two concepts have never been completely explained, and for a thousand years the definitions have varied"" (Hindemith 1942, p. 85).The opposition can be made in different contexts:In acoustics or psychophysiology, the distinction may be objective. In modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds (i.e. sounds with harmonic partials).In music, even if the opposition often is founded of the preceding, objective distinction, it more often is subjective, conventional, cultural, and style-dependent. Dissonance can then be defined as a combination of sounds that does not belong to the style under consideration; in recent music, what is considered stylistically dissonant may even correspond to what is said consonant in the context of acoustics (e.g. a major triad in atonal music).In both cases, the distinction mainly concerns simultaneous sounds; if successive sounds are considered, their consonance or dissonance depends on the memorial retention of the first sound while the second is heard. For this reason, consonance and dissonance have been considered particularly in the case of polyphonic Occidental music, and the present article is concerned mainly with this case.Most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. This may be justifiable in a psychophysiological context, but much less in a musical context properly speaking: dissonances often play a decisive role in making music pleasant, even in a generally consonant context – which is one of the reasons why the musical definition of consonance/dissonance cannot match the psychophysiologic definition. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of 'dissonance' and of 'noise'. (See also Noise in music, Noise music and Noise (acoustic).)While consonance and dissonance exist only between sounds and therefore necessarily describe intervals (or chords), Occidental music theory often considers that, in a dissonant chord, one of the tones alone is in itself the dissonance: it is this tone in particular that needs ""resolution"" through a specific voice leading.