Why are pianos out of tune?
... The connections between musical pitch and mathematics have been recognized for at least 2500 years. There's a story (probably untrue) that the Greek mathematician Pythagoras was passing a blacksmith's forge when he heard the hammers giving off harmonious sounds as they beat out iron on the anvil. As ...
... The connections between musical pitch and mathematics have been recognized for at least 2500 years. There's a story (probably untrue) that the Greek mathematician Pythagoras was passing a blacksmith's forge when he heard the hammers giving off harmonious sounds as they beat out iron on the anvil. As ...
Scales
... as time. The meter or time signature in a musical composition is indicated by a fraction, and located at the beginning of a piece of music. The lower number of the fraction tells what kind of note receives one beat. The upper number tells how many beats are in a measure. In Western music there are t ...
... as time. The meter or time signature in a musical composition is indicated by a fraction, and located at the beginning of a piece of music. The lower number of the fraction tells what kind of note receives one beat. The upper number tells how many beats are in a measure. In Western music there are t ...
Chords Triads
... above, whereas if the root note of the chord is in a space then the remaining notes of the triad occur in the two spaces above. ...
... above, whereas if the root note of the chord is in a space then the remaining notes of the triad occur in the two spaces above. ...
Guidelines for the Analysis of Twentieth
... A. Many 20th-Century pieces set up their own formal worlds and categories. Be sensitive to structural repetition, but do not expect pieces to fit into the formal norms of traditional tonal music. B. 20th-century composers often tend to avoid the literal restatement of material—to emphasize continual ...
... A. Many 20th-Century pieces set up their own formal worlds and categories. Be sensitive to structural repetition, but do not expect pieces to fit into the formal norms of traditional tonal music. B. 20th-century composers often tend to avoid the literal restatement of material—to emphasize continual ...
Analysis And Impact Of Selected Compositions That
... would be an example of a traditionally composed suspension between these two voices. One of the most important aspects of this example is that Monteverdi is able to execute these dissonances and still have the music move through a subdominant harmony to dominant and ending with the tonic harmony. Th ...
... would be an example of a traditionally composed suspension between these two voices. One of the most important aspects of this example is that Monteverdi is able to execute these dissonances and still have the music move through a subdominant harmony to dominant and ending with the tonic harmony. Th ...
Jazz Piano Quartal Voicing Workshop
... The term "fourth" is used somewhat arbitrarily in that these same intervals could also be labeled or spelled differently. For example, the perfect fourth is identical in sound to the augmented third, while the augmented fourth is identical in sound to the diminished fifth. Moreover, in some scales, ...
... The term "fourth" is used somewhat arbitrarily in that these same intervals could also be labeled or spelled differently. For example, the perfect fourth is identical in sound to the augmented third, while the augmented fourth is identical in sound to the diminished fifth. Moreover, in some scales, ...
AP Music Theory
... 19. Hear, identify and notate non harmonic tones including accented and unaccented passing, tones upper and lower neighbors, appoggiatura, escape tones, retardations, pedal tones, anticipation and suspensions. 20. Notate the soprano and bass pitches of a 4 part harmonic dictation of the Common Pract ...
... 19. Hear, identify and notate non harmonic tones including accented and unaccented passing, tones upper and lower neighbors, appoggiatura, escape tones, retardations, pedal tones, anticipation and suspensions. 20. Notate the soprano and bass pitches of a 4 part harmonic dictation of the Common Pract ...
63. Familia Valera Miranda Se quema la chumbamba
... After the cuatro introduction, there is a regular succession of 8 bar pregón ‘verses’ (which change each time in detail) and 8 bar (mostly) unvaried coro ‘refrains’. This pattern is sometimes slightly varied by the pregón singing a virtually unchanged version of the coro refrain, both with regard to ...
... After the cuatro introduction, there is a regular succession of 8 bar pregón ‘verses’ (which change each time in detail) and 8 bar (mostly) unvaried coro ‘refrains’. This pattern is sometimes slightly varied by the pregón singing a virtually unchanged version of the coro refrain, both with regard to ...
01_front - Massey Research Online
... applicable to improvisation. In its relatively short history jazz has developed many unique musical and cultural elements. The fact that most of these musical elements have been developed in an improvised environment means that the complexity of the harmonic, melodic and rhythmic material presents m ...
... applicable to improvisation. In its relatively short history jazz has developed many unique musical and cultural elements. The fact that most of these musical elements have been developed in an improvised environment means that the complexity of the harmonic, melodic and rhythmic material presents m ...
AN INTRODUCTION TO MUSIC THEORY Revision A
... These ratios apply both to a fundamental frequency and its overtones, as well as to relationship between separate keys. Consonance Now consider two strings which are plucked simultaneously. The degree of harmony depends on how the respective fundamental frequencies and overtones blend together. Mus ...
... These ratios apply both to a fundamental frequency and its overtones, as well as to relationship between separate keys. Consonance Now consider two strings which are plucked simultaneously. The degree of harmony depends on how the respective fundamental frequencies and overtones blend together. Mus ...
10:5 class notes
... segments 4 + 6 reproduce motifs 6 + 7 in reverse order. (not retrograde) 2) segments 2 and 4 connect over an augmented second, which is the inversion of the diminished seventh at the end of motif 1, surely the most characteristic interval in the theme. 3) the content of segments 2 (G + F♯) and 4 (E♭ ...
... segments 4 + 6 reproduce motifs 6 + 7 in reverse order. (not retrograde) 2) segments 2 and 4 connect over an augmented second, which is the inversion of the diminished seventh at the end of motif 1, surely the most characteristic interval in the theme. 3) the content of segments 2 (G + F♯) and 4 (E♭ ...
File
... indicate the bass positions of chords. We use numbers derived from the Baroque Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
... indicate the bass positions of chords. We use numbers derived from the Baroque Period called Figured Bass or Thoroughbass. During the Baroque period, the keyboard player in an ensemble read from a part consisting only of a bass line and some symbols indicating the chord to be played. ...
Up and Down the Scale
... Other combinations of tones that sound well have frequency ratios that are ratios of whole numbers (integers). It was believed olden times, that this last property makes music “perfect” and was therefore a gift from the gods, not to be screwed with. This allowed Pythagoras to create and unders ...
... Other combinations of tones that sound well have frequency ratios that are ratios of whole numbers (integers). It was believed olden times, that this last property makes music “perfect” and was therefore a gift from the gods, not to be screwed with. This allowed Pythagoras to create and unders ...
Mathematical Properties of the Octatonic “Diminished
... This probably reflects the fact that the notes are not very harmonically related to the root of the scale (for the second mode, this is the starting note), giving it the most dissonant sound of any commonly used scale. However, even the untrained ear can tell the difference between a chord or phrase ...
... This probably reflects the fact that the notes are not very harmonically related to the root of the scale (for the second mode, this is the starting note), giving it the most dissonant sound of any commonly used scale. However, even the untrained ear can tell the difference between a chord or phrase ...
Program - Michael Harrison, composer and pianist
... mathematical differences in the calculation of tones. In the development of Western music, efforts were made by composers and theorists to emphasize consonance and to minimize and regulate dissonance. Certain intervals were allowed in different contexts, and others were entirely avoided. Some combin ...
... mathematical differences in the calculation of tones. In the development of Western music, efforts were made by composers and theorists to emphasize consonance and to minimize and regulate dissonance. Certain intervals were allowed in different contexts, and others were entirely avoided. Some combin ...
Untitled document.docx
... movement, however what is sure is that it is used for dramatic effect, blaring confusion around the audience and orchestra. What is perhaps deliberate is the creation of the tri-tone through the use of G minor and Db, an interval commonly known as the ‘devil’s interval’. This is achieved through alt ...
... movement, however what is sure is that it is used for dramatic effect, blaring confusion around the audience and orchestra. What is perhaps deliberate is the creation of the tri-tone through the use of G minor and Db, an interval commonly known as the ‘devil’s interval’. This is achieved through alt ...
The Lydian Mode Part 2 Licks, Intervals and Triads
... particular scale tones while avoiding others. This creates a focused, angular melody that highlights the unique tonality of each mode. The triads built from the Lydian mode are: ...
... particular scale tones while avoiding others. This creates a focused, angular melody that highlights the unique tonality of each mode. The triads built from the Lydian mode are: ...
Rossini`s - The Spirit of Great Oak
... Synopsis of “Petite Messe Solennelle” Rossini’s mass was very solemn, the last of his Péchés de vieillesse (sins of old age). He dedicated it to the Countess Louise Pillet-Will and given its first performance at her private chapel in March 1864. Originally scored for two pianos, harmonium and 12 so ...
... Synopsis of “Petite Messe Solennelle” Rossini’s mass was very solemn, the last of his Péchés de vieillesse (sins of old age). He dedicated it to the Countess Louise Pillet-Will and given its first performance at her private chapel in March 1864. Originally scored for two pianos, harmonium and 12 so ...
Aspects of mathematics and music in Ancient Greece
... not just a matter of measuring them as it has been for the Pythagoreans and the Harmonicists. It involves mostly the way intervals are combined in order to achieve their coherent musical arrangement, the synthesis. As it can be understood, in Aristoxenus’ approach to music not only intervals but the ...
... not just a matter of measuring them as it has been for the Pythagoreans and the Harmonicists. It involves mostly the way intervals are combined in order to achieve their coherent musical arrangement, the synthesis. As it can be understood, in Aristoxenus’ approach to music not only intervals but the ...
john beaulieu
... player on repeat in order to listen to the same interval over and over. As you listen to an interval, relax and “get inside” the sound. Feel free to hum or chant in resonance with the interval. Notice how your body responds and changes. If you are in a quiet place, listen to the changes in the sound ...
... player on repeat in order to listen to the same interval over and over. As you listen to an interval, relax and “get inside” the sound. Feel free to hum or chant in resonance with the interval. Notice how your body responds and changes. If you are in a quiet place, listen to the changes in the sound ...
Hearing Math and Seeing Music: a Workshop on Pitch Perception
... The workshop will have two main aspects, aural and visual. Aurally, we will use the free audio program Audacity to generate waves with the desired shapes and frequencies; visually, we will use Audacity and Desmos to visualize wave combinations. Participants will be gently guided by an open-ended wor ...
... The workshop will have two main aspects, aural and visual. Aurally, we will use the free audio program Audacity to generate waves with the desired shapes and frequencies; visually, we will use Audacity and Desmos to visualize wave combinations. Participants will be gently guided by an open-ended wor ...
Thomas A - Music at Thomas Edison
... Timbre is the result of what sound waves are actually present in the sound. Usually timbre is determined by instrumentation. Each instrument has its own tone color, and composers use and blend those colors much as a painter uses various paints. Orchestration – _______________________________________ ...
... Timbre is the result of what sound waves are actually present in the sound. Usually timbre is determined by instrumentation. Each instrument has its own tone color, and composers use and blend those colors much as a painter uses various paints. Orchestration – _______________________________________ ...
Lesson EEE: The Dominant Seventh Chord
... one of the voices.] Conclusion: In this lesson we have discussed the various formations of one of the most important harmonic progressions and cadential idioms in tonal music: V7 to I. The voice leading of these various configurations is determined primarily by the presence of tendency tones 7 and 4 ...
... one of the voices.] Conclusion: In this lesson we have discussed the various formations of one of the most important harmonic progressions and cadential idioms in tonal music: V7 to I. The voice leading of these various configurations is determined primarily by the presence of tendency tones 7 and 4 ...
- MusicTeachers.co.uk
... composers such as Fauré had used modal aspects in their works) and he is reported by Maurice Emmanuel to have said around 1889-90 that 'music is neither major nor minor', something evident in the 'Sarabande' from Pour le piano. Here, despite having a key signature of four sharps, the music never set ...
... composers such as Fauré had used modal aspects in their works) and he is reported by Maurice Emmanuel to have said around 1889-90 that 'music is neither major nor minor', something evident in the 'Sarabande' from Pour le piano. Here, despite having a key signature of four sharps, the music never set ...
Intervals 4
... study of music. In Western music, the concept of harmony is the result of the pitches interacting with one another. You should become fluent in identifying intervals at sight, and continue to develop your proficiency. In our musical system, the interval of an octave is divided into twelve equal 1/2 ...
... study of music. In Western music, the concept of harmony is the result of the pitches interacting with one another. You should become fluent in identifying intervals at sight, and continue to develop your proficiency. In our musical system, the interval of an octave is divided into twelve equal 1/2 ...
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.