Slide 1
... steady enough to have pitch, quality and loudness •Octave – same note (tone), frequency doubled •Scale – The pattern used to travel an octave. ...
... steady enough to have pitch, quality and loudness •Octave – same note (tone), frequency doubled •Scale – The pattern used to travel an octave. ...
Chromaticism I
... on a chord by chord basis) reinforce, or are reducible to, the structural norms of a single diatonic system. However, it is possible to create harmonic units that are built out of scale-degree representatives from multiple modes. Just as the harmonic minor scale is called artificial because it is no ...
... on a chord by chord basis) reinforce, or are reducible to, the structural norms of a single diatonic system. However, it is possible to create harmonic units that are built out of scale-degree representatives from multiple modes. Just as the harmonic minor scale is called artificial because it is no ...
Night in Tunisia thoughts,
... 3) almost all the alterations the dim scale contains the chord tones of the dominant seventh chord, plus these alterations: b9, +9, +11, 13 So it makes sense to use over any dominant seventh with extensions, the notable exceptions being natural 9, and b13, which we have other scales to handle (maybe ...
... 3) almost all the alterations the dim scale contains the chord tones of the dominant seventh chord, plus these alterations: b9, +9, +11, 13 So it makes sense to use over any dominant seventh with extensions, the notable exceptions being natural 9, and b13, which we have other scales to handle (maybe ...
Minor Thirds
... There is no clear explanation as to why starting from la creates a melancholy sound, but one suggestion ...
... There is no clear explanation as to why starting from la creates a melancholy sound, but one suggestion ...
Tonal Harmony Chapter 1 Elements of Pitch
... A harmonic interval results when the notes are performed at the same time A melodic interval occurs when the notes are played successively The method of measuring for both type of intervals are the same Two parts to any interval name: o Numerical name: how far apart regardless of what accide ...
... A harmonic interval results when the notes are performed at the same time A melodic interval occurs when the notes are played successively The method of measuring for both type of intervals are the same Two parts to any interval name: o Numerical name: how far apart regardless of what accide ...
Musical Elements and Compositional Devices
... (1) The highest male voice produced by singing “falsetto” – (often called countertenor) (2) The term is also used for the lowest female voice (a short form of contralto). (2) Also used to describe instruments with the same range as these voices (eg alto saxophone) (3) In a four-part choir, the secon ...
... (1) The highest male voice produced by singing “falsetto” – (often called countertenor) (2) The term is also used for the lowest female voice (a short form of contralto). (2) Also used to describe instruments with the same range as these voices (eg alto saxophone) (3) In a four-part choir, the secon ...
Scales - University of Rochester
... • What does it mean to add two sine waves that are not integer multiples of each other? ------ What difference is there in the waveform? ...
... • What does it mean to add two sine waves that are not integer multiples of each other? ------ What difference is there in the waveform? ...
cadences - UT School of Music
... • Either or both of the above two rules are broken. • The progression could involve an inversion of the V chord, and inversion of the I chord, or both chords in inversion. • The progression could also be a leading tone chord to tonic (viio-I); this progression will always be an imperfect authentic s ...
... • Either or both of the above two rules are broken. • The progression could involve an inversion of the V chord, and inversion of the I chord, or both chords in inversion. • The progression could also be a leading tone chord to tonic (viio-I); this progression will always be an imperfect authentic s ...
AP Music Theory - Stratford Public Schools
... Demonstrate a knowledge of percussion notation in music being performed as well as standard rudiments. (percussionists only). Demonstrate correct fingerings within a practical range of their chosen instrument. Perform all major scales and three forms of minor scales. Perform chromatic scale and othe ...
... Demonstrate a knowledge of percussion notation in music being performed as well as standard rudiments. (percussionists only). Demonstrate correct fingerings within a practical range of their chosen instrument. Perform all major scales and three forms of minor scales. Perform chromatic scale and othe ...
11 – Music temperament and pitch
... • All 24 music scales should sound satisfactorily. It turns out that these requirements cannot be satisfied at the same time, so that one has to make compromises. A great number of temperaments had been proposed during the development of music theory and practice, to variable success. All temperamen ...
... • All 24 music scales should sound satisfactorily. It turns out that these requirements cannot be satisfied at the same time, so that one has to make compromises. A great number of temperaments had been proposed during the development of music theory and practice, to variable success. All temperamen ...
Music Metadata Influence - Rovi
... rhythmic, melodic and harmonic song characteristics. Our music metadata Influence package supports multiple platforms and devices, and incorporates the TiVo ID standard media identifier for efficient implementation. ...
... rhythmic, melodic and harmonic song characteristics. Our music metadata Influence package supports multiple platforms and devices, and incorporates the TiVo ID standard media identifier for efficient implementation. ...
Music 231 Second Species Counterpoint, Two Parts
... the rules of cantus firmus and first species writing apply except: Because you have more notes, the melodic curve can be more complex A subsidiary climax or two is often planned ...
... the rules of cantus firmus and first species writing apply except: Because you have more notes, the melodic curve can be more complex A subsidiary climax or two is often planned ...
SEVENTH CHORDS Every triad can be extended by adding another
... Seventh chords can be inverted. A seventh chord is inverted if the bottom-most note, the bass, is not the root of the chord. Since there are four notes (instead of 3 in a triad), there is a root position and first, second and third inversion of a seventh chord. ...
... Seventh chords can be inverted. A seventh chord is inverted if the bottom-most note, the bass, is not the root of the chord. Since there are four notes (instead of 3 in a triad), there is a root position and first, second and third inversion of a seventh chord. ...
Slide 1
... When we add minor chords to a tune that’s in a major key, there are two chords that are most likely to sound natural, because those two chords (the ii and vi chords) also contain only notes from the I major scale (C major in example below). A typical such progression would be C ...
... When we add minor chords to a tune that’s in a major key, there are two chords that are most likely to sound natural, because those two chords (the ii and vi chords) also contain only notes from the I major scale (C major in example below). A typical such progression would be C ...
16 באוקטובר, 2005
... 1. Implementing a tool for detecting the musical scale of a musical piece. 2. Incorporating this tool in an existing software for musical transcription, built in a previous project. 3. Adding an option of changing the scale of a musical sheet produced by the system. Background: Western music include ...
... 1. Implementing a tool for detecting the musical scale of a musical piece. 2. Incorporating this tool in an existing software for musical transcription, built in a previous project. 3. Adding an option of changing the scale of a musical sheet produced by the system. Background: Western music include ...
Minor Scales
... * The number of notes they have * The distance between their degrees. For example, seven different scales may be built with any number of notes as in the common pentatonic scale (5 notes), the major scale with 7 notes and the chromatic scale with 12. The Minor Scale As the major scale, the minor sca ...
... * The number of notes they have * The distance between their degrees. For example, seven different scales may be built with any number of notes as in the common pentatonic scale (5 notes), the major scale with 7 notes and the chromatic scale with 12. The Minor Scale As the major scale, the minor sca ...
Major Diatonic Chords
... Note that the only note that is modified in the minor chords is the Bb to a B natural, which is the leading tone in the major scale. The leading tone plays such an important role that these chords have been modified to include it. The triads and 7th chords shown above represent the overwhelming majo ...
... Note that the only note that is modified in the minor chords is the Bb to a B natural, which is the leading tone in the major scale. The leading tone plays such an important role that these chords have been modified to include it. The triads and 7th chords shown above represent the overwhelming majo ...
A Psychophysical Explanation for Why Major Chords are “Bright
... All of our experiments have been run with musicallyuntrained, Japanese college students. The musical sounds have been 2-tone intervals, 3-tone chords, 3-tone chord pairs or short melodies presented over headphones as sine waves (with or without upper partials) or grand piano MIDI sounds. Methodologi ...
... All of our experiments have been run with musicallyuntrained, Japanese college students. The musical sounds have been 2-tone intervals, 3-tone chords, 3-tone chord pairs or short melodies presented over headphones as sine waves (with or without upper partials) or grand piano MIDI sounds. Methodologi ...
Voc Music Baseline
... 1. The organ of the voice by which we produce vocal sounds situated at the top of the wind pipe is a(n)_________. A. diaphragm B. larynx C. vocal cord 2. The pitch distance between two tones is ______. A. chord B. Accent C. Interval 3. The number of notes a particular voice can sing is called_____. ...
... 1. The organ of the voice by which we produce vocal sounds situated at the top of the wind pipe is a(n)_________. A. diaphragm B. larynx C. vocal cord 2. The pitch distance between two tones is ______. A. chord B. Accent C. Interval 3. The number of notes a particular voice can sing is called_____. ...
Scales, Modes, and Chord/Cluster Concepts for 20th
... All whole steps (only 7 notes in an octave) Whole-Tone Scale Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alternate whole-step/half-step or halfjazz, this is called a C Db Eb E F# G A Bb C step/whole-step to create 9 notes in an octave "Diminished" Scale) (in jazz, these are the two ...
... All whole steps (only 7 notes in an octave) Whole-Tone Scale Octatonic Scale (in C D Eb F Gb Ab A B C The most common ones alternate whole-step/half-step or halfjazz, this is called a C Db Eb E F# G A Bb C step/whole-step to create 9 notes in an octave "Diminished" Scale) (in jazz, these are the two ...
Species_Counterpoint
... Always ends and begins on the starting pitch of the mode known as the “final”. Mostly step-wise motion. ...
... Always ends and begins on the starting pitch of the mode known as the “final”. Mostly step-wise motion. ...
Chapter 1 summary
... note is the nota cambiata. The surrounding first and third notes are always consonant with the lowest voice. The second and fourth notes may or may not be dissonant. 13. Suspensions (3-voice): 9-8 (2-1), 4-3, plus the 7-6 and 2-3. 14. The 4th may be “consonant” in 3-part writing when a second invers ...
... note is the nota cambiata. The surrounding first and third notes are always consonant with the lowest voice. The second and fourth notes may or may not be dissonant. 13. Suspensions (3-voice): 9-8 (2-1), 4-3, plus the 7-6 and 2-3. 14. The 4th may be “consonant” in 3-part writing when a second invers ...
Music Theory in a Minute BILL CARLSON MUSIC INFORMATICS AND COMPUTING DR. CHUAN
... Every tone in the Major Scale makes a Triad or Chord I, IV, V are always MAJOR ii, iii, vi are always MINOR vii is half-diminished The chords are the same in the relative minor as the major, the order is changed ...
... Every tone in the Major Scale makes a Triad or Chord I, IV, V are always MAJOR ii, iii, vi are always MINOR vii is half-diminished The chords are the same in the relative minor as the major, the order is changed ...
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.