Summary of Tonal Harmony - Leon Couch`s Course Listings
... disrupted. The only absolutely forbidden NCT is one with leaps on both sides of a dissonance; i.e., arpeggios must outline a chord. 2. The pedal point is considered dissonant by K&P while harmonies progress above it; but, this is wrong—the pedal point is the harmonic pillar on which passing harmonie ...
... disrupted. The only absolutely forbidden NCT is one with leaps on both sides of a dissonance; i.e., arpeggios must outline a chord. 2. The pedal point is considered dissonant by K&P while harmonies progress above it; but, this is wrong—the pedal point is the harmonic pillar on which passing harmonie ...
the fundamental principles of harmony
... Before embarking on the study of chord progressions in root position, it is important to understand why Harmony is written in four parts (soprano, alto, tenor, bass) when triads have but three sounds. ...
... Before embarking on the study of chord progressions in root position, it is important to understand why Harmony is written in four parts (soprano, alto, tenor, bass) when triads have but three sounds. ...
a geometric model for the analysis of pop music
... musical piece, we can easily switch between “intrinsic” and “extrinsic” notions of space. The twelve possible Tonnetze define an “extrinsic” universe of possible spatial interpretations of a piece that “intrinsically” has its own natural space. This “intrinsic” space is given by the simplicial compl ...
... musical piece, we can easily switch between “intrinsic” and “extrinsic” notions of space. The twelve possible Tonnetze define an “extrinsic” universe of possible spatial interpretations of a piece that “intrinsically” has its own natural space. This “intrinsic” space is given by the simplicial compl ...
Slightly Out of Tune: The Story of Musical Temperament
... topics were mostly about the computer itself (such as e-mail and the Web). But in the last couple of years I have tried to lecture on topics that aren’t about the computer itself, but where the computer has played an important role. For example, last year I talked about the science of Chaos, where t ...
... topics were mostly about the computer itself (such as e-mail and the Web). But in the last couple of years I have tried to lecture on topics that aren’t about the computer itself, but where the computer has played an important role. For example, last year I talked about the science of Chaos, where t ...
VAN TECH MUSIC MUSIC THEORY LEARNING GUIDE Level IIA
... For example, using the piano keyboard we can easily see that between the white keys for G and A, there exists a black key. The black key can be called either G♯ or A♭ because of its distance relative to the white keys. E: Whole Tones vs. Semitones - The smallest distance between two pitches is a sem ...
... For example, using the piano keyboard we can easily see that between the white keys for G and A, there exists a black key. The black key can be called either G♯ or A♭ because of its distance relative to the white keys. E: Whole Tones vs. Semitones - The smallest distance between two pitches is a sem ...
P5a - Piano Grade 5
... • Baroque music is performed with a clearly articulated sound, often using detached notes. There is no sustaining pedal on a harpsichord, and the tone dies away quite rapidly. • Dynamics were usually left to the performer to determine. Where they are indicated by the composer, they are often “terrac ...
... • Baroque music is performed with a clearly articulated sound, often using detached notes. There is no sustaining pedal on a harpsichord, and the tone dies away quite rapidly. • Dynamics were usually left to the performer to determine. Where they are indicated by the composer, they are often “terrac ...
Set Theory - ClarkRoss.ca
... Atonal music is often organized in pitch groups that form cells (both horizontal and vertical), many of which relate to one another. Set Theory provides a shorthand method to label these cells, just like Roman numerals and inversion figures do (i.e., ii 64 ) in tonal music. We use numbers in musical ...
... Atonal music is often organized in pitch groups that form cells (both horizontal and vertical), many of which relate to one another. Set Theory provides a shorthand method to label these cells, just like Roman numerals and inversion figures do (i.e., ii 64 ) in tonal music. We use numbers in musical ...
Musical Knowledge for ABRSM Aural, GCSE and A levels
... eg: march-like, song-like, dance-like or happy, sad, serious, solemn, thoughtful etc. ...
... eg: march-like, song-like, dance-like or happy, sad, serious, solemn, thoughtful etc. ...
A Musical Scale Generated from the Ratio of Consecutive Primes
... The Music of the Primes is an electronic musical composition by the author [1] that was inspired by mathematician Marcus du Sautoy’s book of the same title [2]. It is a computer-generated algorithmic composition encoded in Cycling ‘74’s Max visual programming language [3]. All of the composition’s m ...
... The Music of the Primes is an electronic musical composition by the author [1] that was inspired by mathematician Marcus du Sautoy’s book of the same title [2]. It is a computer-generated algorithmic composition encoded in Cycling ‘74’s Max visual programming language [3]. All of the composition’s m ...
REVERIE by Debussy!
... mainly in France, that began in the late nineteenth century and continued into the middle of the twentieth century. Like its precursor in the visual arts, musical Impressionism focused on suggestion and atmosphere rather than strong emotion or the depiction of a story as in program music. Musical Im ...
... mainly in France, that began in the late nineteenth century and continued into the middle of the twentieth century. Like its precursor in the visual arts, musical Impressionism focused on suggestion and atmosphere rather than strong emotion or the depiction of a story as in program music. Musical Im ...
Mathematical Properties of the Melodic M[...]
... For this reason, they raised the 6th when writing ascending melodies, so that the melodies flowed smoothly. They then reverted to the natural minor (i.e. with flattened 6th and 7th) for descending melodies. In this way the classical melodic minor scale was born, with every music student’s nightmare ...
... For this reason, they raised the 6th when writing ascending melodies, so that the melodies flowed smoothly. They then reverted to the natural minor (i.e. with flattened 6th and 7th) for descending melodies. In this way the classical melodic minor scale was born, with every music student’s nightmare ...
Frequency
... Intervals can be added together in order to form other intervals. For example a Perfect 5th and a Perfect 4th placed back to back form an octave (C to F+F to C = C to C). Interestingly the same result is obtained by multiplying the ratios of the intervals being added.. In this example 4/3 x 3/2 = 12 ...
... Intervals can be added together in order to form other intervals. For example a Perfect 5th and a Perfect 4th placed back to back form an octave (C to F+F to C = C to C). Interestingly the same result is obtained by multiplying the ratios of the intervals being added.. In this example 4/3 x 3/2 = 12 ...
FREE - James Buckham
... Play this through and listen to the subtle dissonances that the half-steps create. The series in full: W – W – H – W – W – W – H. This series can be used to produce major scales from any other fundamental. If you are not familiar with this, try working out a few other major scales by choosing other ...
... Play this through and listen to the subtle dissonances that the half-steps create. The series in full: W – W – H – W – W – W – H. This series can be used to produce major scales from any other fundamental. If you are not familiar with this, try working out a few other major scales by choosing other ...
MTO 1.1: Rothgeb, The Tristan Chord
... perhaps by letting the upper voice first leap to C and reach the B thence by descending a step; this might result in a cadential above the bass E. Another possibility, however, is to apply a slide (Schleifer) as in Example 2c. This ornament makes it possible for the treble to express the stepwise mo ...
... perhaps by letting the upper voice first leap to C and reach the B thence by descending a step; this might result in a cadential above the bass E. Another possibility, however, is to apply a slide (Schleifer) as in Example 2c. This ornament makes it possible for the treble to express the stepwise mo ...
circular pitch space based chord analysis - Music
... decided to use the Symmetry Model as basis for our chord analysis system: We selected the twelve FR and twelve TR, one circle for each key. The chroma vector of every frame is mapped to these CPS by calculating one centroid in every circle which results in a 48-D feature vector. Based on the energy ...
... decided to use the Symmetry Model as basis for our chord analysis system: We selected the twelve FR and twelve TR, one circle for each key. The chroma vector of every frame is mapped to these CPS by calculating one centroid in every circle which results in a 48-D feature vector. Based on the energy ...
Spectral analysis of different harmonies Implemented by Equal
... counterpoint of 17th century was largely based on the concept of consonance and dissonance, in which the consonance includes octave (1:2), perfect 5th (2:3), perfect 4th (3:4), major 3rd (4:5), and minor 3rd (5:6), and the dissonance includes the rest of intervals. ...
... counterpoint of 17th century was largely based on the concept of consonance and dissonance, in which the consonance includes octave (1:2), perfect 5th (2:3), perfect 4th (3:4), major 3rd (4:5), and minor 3rd (5:6), and the dissonance includes the rest of intervals. ...
The Lydian Mode - Fundamental Changes
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
A Derivation of the Rules of Voice-leading from Perceptual Principles
... - it is usual for at least one part to move in a different direction but in case 1 all the parts move in the same direction - it is characteristic for the individual voices in a Bach chorale to move predominantly by step but all the voices move in large leaps in case 1. ...
... - it is usual for at least one part to move in a different direction but in case 1 all the parts move in the same direction - it is characteristic for the individual voices in a Bach chorale to move predominantly by step but all the voices move in large leaps in case 1. ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
... contravening triadic tonality’s clear systemic distinction between the roles of steps (voice leading) and skips/leaps (arpeggiation). Schenker’s normative view, of course, was that the seventh chord is not an independent harmony; like any other dissonance (or rather, untransformed dissonance), its p ...
... contravening triadic tonality’s clear systemic distinction between the roles of steps (voice leading) and skips/leaps (arpeggiation). Schenker’s normative view, of course, was that the seventh chord is not an independent harmony; like any other dissonance (or rather, untransformed dissonance), its p ...
Tunings and Temperaments Powerpoint
... possible to start at any note, go up twelve perfect Fifths, and end up at the same note from whence you started (just in a different octave) We call this the Circle of Fifths; it is an important fundamental concept that is the basis for much of modern music theory ...
... possible to start at any note, go up twelve perfect Fifths, and end up at the same note from whence you started (just in a different octave) We call this the Circle of Fifths; it is an important fundamental concept that is the basis for much of modern music theory ...
The Common-Tone Diminished Seventh Chord 7
... which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root o ...
... which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root o ...
Chords, Keys, and Scales - What are they, and
... semitones are found between the 2nd and 3rd notes (B and C) and the 5th and 6th notes (E and F). This pattern gives a different sound/flavour, which we call minor. When we build a snowman chord on A with no black keys we have the A minor triad (A C E). It has a very different sound from a major tria ...
... semitones are found between the 2nd and 3rd notes (B and C) and the 5th and 6th notes (E and F). This pattern gives a different sound/flavour, which we call minor. When we build a snowman chord on A with no black keys we have the A minor triad (A C E). It has a very different sound from a major tria ...
“Tuning and temperament” by Rudolph Rasch Know who and where
... “arithmetic”: When used as an adjective, this word is accented on the third syllable: ar-ith-MET-ic. Arithmetic methods include addition, subtraction, multiplication, and division only. ¶1 “root extraction”: not dentistry! This means finding square roots, cube roots, twelfth roots, etc. What can be ...
... “arithmetic”: When used as an adjective, this word is accented on the third syllable: ar-ith-MET-ic. Arithmetic methods include addition, subtraction, multiplication, and division only. ¶1 “root extraction”: not dentistry! This means finding square roots, cube roots, twelfth roots, etc. What can be ...
7 PITCH AND TIMBRE
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
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.