Tonal Harmony Chapter 3 Introduction to Triads and Seventh
... Baroque keyboardist reading the figured bass followed the key signature Root position triad might be major, minor or diminished ...
... Baroque keyboardist reading the figured bass followed the key signature Root position triad might be major, minor or diminished ...
File - Harris Ac Music
... emotions. Besides the happy sounding major scale and the sad sounding minor scale, there is the whole tone scale. This scale can create a sense of mystery. The diminished scale can also be used to suggest mystery, and the pentatonic scale has a light, clean feel. It is commonly found in Scottish mus ...
... emotions. Besides the happy sounding major scale and the sad sounding minor scale, there is the whole tone scale. This scale can create a sense of mystery. The diminished scale can also be used to suggest mystery, and the pentatonic scale has a light, clean feel. It is commonly found in Scottish mus ...
COURSE TITLE - Metropolitan Community College
... 3. Explain the meaning of the time signature and the significance of the top and bottom numbers. 4. Practice creating intervals of various sizes on the staff and at the piano. 5. Build major and minor scales. 6. Derive various key signatures from the major and minor scales. 7. Use your speaking voic ...
... 3. Explain the meaning of the time signature and the significance of the top and bottom numbers. 4. Practice creating intervals of various sizes on the staff and at the piano. 5. Build major and minor scales. 6. Derive various key signatures from the major and minor scales. 7. Use your speaking voic ...
Pitch, tonality, and the missing fundamentals of music cognition
... • Include P5 high harmonicity • No m2 or M2 low roughness (Parncutt, 1988) ...
... • Include P5 high harmonicity • No m2 or M2 low roughness (Parncutt, 1988) ...
Unit 4 - Intervals
... 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 ...
Mathematical Harmonies Write-up
... not in any other key. For example, in the key of D the first ratio is 1.111, but it needs to be 1.125. With just temperament, your flute is only good in one key! Just temperament instruments were the standard until the 1700s. A flutist would have had to own several flutes each tuned to a different k ...
... not in any other key. For example, in the key of D the first ratio is 1.111, but it needs to be 1.125. With just temperament, your flute is only good in one key! Just temperament instruments were the standard until the 1700s. A flutist would have had to own several flutes each tuned to a different k ...
The Soundtrack
... particularly useful for signalling change subtly, sotto voce, as it were, under dialogue. Beyond “major chords for happy, minor ones for sad” 16 , tonality’s effect is subtle yet powerful. Essentially, the tonal language used in film offers a series of musical gestures which relate to each other cau ...
... particularly useful for signalling change subtly, sotto voce, as it were, under dialogue. Beyond “major chords for happy, minor ones for sad” 16 , tonality’s effect is subtle yet powerful. Essentially, the tonal language used in film offers a series of musical gestures which relate to each other cau ...
"The Elements of Music"
... scale, identified as root, second, third, etc. • Consonance/dissonance = the balance of notes in a melody that create moments of relative tension and resolution. ...
... scale, identified as root, second, third, etc. • Consonance/dissonance = the balance of notes in a melody that create moments of relative tension and resolution. ...
Chapter 1: The Basics Microtonal Notation
... either the tone or the octave. For example, third-tone music may be described as 18-div and fifth-tone music as 30-div, and so on. While there is no categorical reason why the word ‘division’ should be associated with a division of the octave as opposed to a division of a tone (or any other interval ...
... either the tone or the octave. For example, third-tone music may be described as 18-div and fifth-tone music as 30-div, and so on. While there is no categorical reason why the word ‘division’ should be associated with a division of the octave as opposed to a division of a tone (or any other interval ...
non-serial criteria in the pitch organization of webern`s twelve
... Paradoxically, though logically, pantonality was a language that constantly overflowed its own boundaries. But, in spite of this contradiction, we can distinguish certain clear tendencies that are characteristic of this exceptional musical language: —Tension and concentration were created by constan ...
... Paradoxically, though logically, pantonality was a language that constantly overflowed its own boundaries. But, in spite of this contradiction, we can distinguish certain clear tendencies that are characteristic of this exceptional musical language: —Tension and concentration were created by constan ...
Romantic and impressionist harmony
... In this short text, I will provide examples of a new harmonic world of romantic and impressionist composers. After studying, playing and listening to these examples, the reader wil be able to understand harmonic developments in the 19th century. The musical harmonic language of early romantic compos ...
... In this short text, I will provide examples of a new harmonic world of romantic and impressionist composers. After studying, playing and listening to these examples, the reader wil be able to understand harmonic developments in the 19th century. The musical harmonic language of early romantic compos ...
Tonal Harmony Chapter 22 Augmented Sixth Chord
... Not yet a topic of discussion because the augumented chord is a linear sonority that has no root A Fr+6 can be arranged to resemble an altered V7/V, and the It+6 and Gr+6 sonorities can be likened to altered iv7 chords minor 6th is usually constitute the bass of an +6 chord, other bass positio ...
... Not yet a topic of discussion because the augumented chord is a linear sonority that has no root A Fr+6 can be arranged to resemble an altered V7/V, and the It+6 and Gr+6 sonorities can be likened to altered iv7 chords minor 6th is usually constitute the bass of an +6 chord, other bass positio ...
modern jazz techniques
... increasing complexity from its inception at the beginning of the twentieth century until the early 1960s when Free Jazz experiments were underway. What had taken 200 years in Western art music had taken roughly 50 years in jazz: a development from basic diatonic structure to one of extreme chromatic ...
... increasing complexity from its inception at the beginning of the twentieth century until the early 1960s when Free Jazz experiments were underway. What had taken 200 years in Western art music had taken roughly 50 years in jazz: a development from basic diatonic structure to one of extreme chromatic ...
Understanding Chord Symbols - Florida Music Education Associations
... some degree chord symbols using only upper-case letters, so using the standard upper case-lower case tradition for denoting major and minor chords will be avoided. Instead, major will be abbreviated “ma” and minor “mi”. As we are dealing with music, not geometry, there are no circles, triangles or o ...
... some degree chord symbols using only upper-case letters, so using the standard upper case-lower case tradition for denoting major and minor chords will be avoided. Instead, major will be abbreviated “ma” and minor “mi”. As we are dealing with music, not geometry, there are no circles, triangles or o ...
C:\Documents and Settings\Borys Medicky\My Documents\Basso
... 7. When the bass ascends a fourth or descends a fifth, the first of the two bass notes involved always has a major third, even if it is not indicated (resolution of third to octave from rule 6c above). This is the equivalent of the modern “authentic” or “perfect” cadence. 8a. When the bass ascends ...
... 7. When the bass ascends a fourth or descends a fifth, the first of the two bass notes involved always has a major third, even if it is not indicated (resolution of third to octave from rule 6c above). This is the equivalent of the modern “authentic” or “perfect” cadence. 8a. When the bass ascends ...
Chpt. 3: 節奏Rhythm Flow of music (events) through time
... • Appears again later if meter changes ...
... • Appears again later if meter changes ...
Piano Study in Mixed Accents
... same note is repeated in a melody before enough notes have intervened to remove the impression of the original note, there is a sense of tautology, because the melody should have proceeded to a fresh note instead of to a note already in the consciousness of the listener. Therefore Ruggles writes at ...
... same note is repeated in a melody before enough notes have intervened to remove the impression of the original note, there is a sense of tautology, because the melody should have proceeded to a fresh note instead of to a note already in the consciousness of the listener. Therefore Ruggles writes at ...
Notes - Andre Mount
... Augmented 6th chords are called that because they’re characterized by an augmented 6th The interval expands outward to an octave o Part of a V chord “To generalize, the bass of an augmented 6th chord is a half step above 5 (6 in minor or b6 in major), one of the upper voices is a half step bel ...
... Augmented 6th chords are called that because they’re characterized by an augmented 6th The interval expands outward to an octave o Part of a V chord “To generalize, the bass of an augmented 6th chord is a half step above 5 (6 in minor or b6 in major), one of the upper voices is a half step bel ...
AoS2 – Harmony and Tonality
... and sounds uncomfortable, even painful to listen to ! The first, pleasant kind of harmony is consonant – it sounds agreeable ! Dissonant harmony really clashes ! It is often used to create suspense ...
... and sounds uncomfortable, even painful to listen to ! The first, pleasant kind of harmony is consonant – it sounds agreeable ! Dissonant harmony really clashes ! It is often used to create suspense ...
11ths and 13ths - Scored Changes
... Note that this same chord can be found written differently. C11 automatically implies that the major 3rd is omitted. The third symbol (in the second bar) shows that the same chord can be thought of as being a minor 7th on a pedal note a perfect fifth below. This is often easier for a piano player to ...
... Note that this same chord can be found written differently. C11 automatically implies that the major 3rd is omitted. The third symbol (in the second bar) shows that the same chord can be thought of as being a minor 7th on a pedal note a perfect fifth below. This is often easier for a piano player to ...
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 ...
UNIT 1: Intervals and Scales
... APMT.III.2 melody to create simple twopart APMT.IV.2 counterpoint in seventeenth and or APMT.IV.3B ...
... APMT.III.2 melody to create simple twopart APMT.IV.2 counterpoint in seventeenth and or APMT.IV.3B ...
Concepts for the Music Theory Sections of the Graduate Preliminary
... - Resolve all "tendency tones" in the same voice--a leading-tone must resolves UP by half-step to the tonic; 7ths of "dominant 7th" and "secondary dominant 7ths must resolve down by a half-step, a chromatically-raised pitch resolves up by half-step while a chromatically-lowered pitch must resolve do ...
... - Resolve all "tendency tones" in the same voice--a leading-tone must resolves UP by half-step to the tonic; 7ths of "dominant 7th" and "secondary dominant 7ths must resolve down by a half-step, a chromatically-raised pitch resolves up by half-step while a chromatically-lowered pitch must resolve do ...
Systems of pitch relations: scales, tunings
... point in the late Renaissance up to the late nineteenth century is based upon these two objects and the unique relationships created by this system of organizing 7 notes. It should be kept in mind that most pieces of music change key, and thus scale, but are still related to the beginning diatonic s ...
... point in the late Renaissance up to the late nineteenth century is based upon these two objects and the unique relationships created by this system of organizing 7 notes. It should be kept in mind that most pieces of music change key, and thus scale, but are still related to the beginning diatonic s ...
A GUIDE TO THE TERMINOLOGY OF GERMAN HARMONY
... The overtly dualistic elements of Riemannian harmony were among the first to fall out of favor, though earlier in this century their presence can still be strongly felt. For example, prewar German writers routinely used the term “dominant harmony” to refer not to a type of chord, V, but to a type of ...
... The overtly dualistic elements of Riemannian harmony were among the first to fall out of favor, though earlier in this century their presence can still be strongly felt. For example, prewar German writers routinely used the term “dominant harmony” to refer not to a type of chord, V, but to a type of ...
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.