The Functional Tonal Musical System and its Mathematical
... The relationships between chordal functions will in fact create the musical discourse, being essential in the configuration of the tonal schematic of the sound.2 “The term (author’s note harmonic relationships) implies not only the fact that a chord is followed by another but also that the successio ...
... The relationships between chordal functions will in fact create the musical discourse, being essential in the configuration of the tonal schematic of the sound.2 “The term (author’s note harmonic relationships) implies not only the fact that a chord is followed by another but also that the successio ...
Article: Phrasing...Speaking in Musical Sentences.Blue Grass News
... down with the analysis before playing a note. In fact, sometimes playing through a piece slowly first in order to hear it will help us to understand its construction better. The first tool from the Analysis tray is Harmony. When preparing a piece of music for performance, we must always be aware of ...
... down with the analysis before playing a note. In fact, sometimes playing through a piece slowly first in order to hear it will help us to understand its construction better. The first tool from the Analysis tray is Harmony. When preparing a piece of music for performance, we must always be aware of ...
Tuning and Temperament
... An examination of any musical keyboard would seem to indicate that three successive major thirds make up an octave. C-E then E-G# then G#-C. If this is true, then multiplying 5/4 x 5/4 x 5/4 should equal 2/1 which it clearly does not. The result is 125/64 which is significantly short of an octave. T ...
... An examination of any musical keyboard would seem to indicate that three successive major thirds make up an octave. C-E then E-G# then G#-C. If this is true, then multiplying 5/4 x 5/4 x 5/4 should equal 2/1 which it clearly does not. The result is 125/64 which is significantly short of an octave. T ...
STRATFORD PUBLIC SCHOOLS Music Department – Music Theory
... Demonstrate a knowledge of all cadences aurally and through analysis of music. Write cadences in 3 and 4 part harmony. Analyze music in terms of phrases and periods aurally and in written form. Create diagrams of musical form based on phrases, periods, and cadences. Recognize a motive and how it is ...
... Demonstrate a knowledge of all cadences aurally and through analysis of music. Write cadences in 3 and 4 part harmony. Analyze music in terms of phrases and periods aurally and in written form. Create diagrams of musical form based on phrases, periods, and cadences. Recognize a motive and how it is ...
Music Theory Essay. - Guitar Master Class
... B C D E F G). The notes we usually use are made relative to a reference frequency of 440Hz. This reference frequency is given the name A. The difference between two pitches or notes is called an interval. If we play two notes of the same pitch then we say they are in unison. Doubling the frequency o ...
... B C D E F G). The notes we usually use are made relative to a reference frequency of 440Hz. This reference frequency is given the name A. The difference between two pitches or notes is called an interval. If we play two notes of the same pitch then we say they are in unison. Doubling the frequency o ...
Course Description - W. David
... There are four basic tertian triads: major, minor, diminished and augmented. All but the augmented triad can be derived from the Major (or diatonic) scale. Triads (and all other larger tertian chords) are built by combining or stacking every other tone the scale above each individual degree (or scal ...
... There are four basic tertian triads: major, minor, diminished and augmented. All but the augmented triad can be derived from the Major (or diatonic) scale. Triads (and all other larger tertian chords) are built by combining or stacking every other tone the scale above each individual degree (or scal ...
Elements of Music
... Many times you may see chords with another note next to it Such as D/F#. Usually this note is already in the chord, but they want you to highlight it as a bass note. Bass players can usually stick to going with the second note. Another popular chord is a suspended chord. It would be written like As ...
... Many times you may see chords with another note next to it Such as D/F#. Usually this note is already in the chord, but they want you to highlight it as a bass note. Bass players can usually stick to going with the second note. Another popular chord is a suspended chord. It would be written like As ...
The demise of number ratios in music theory
... there are still musicians, theorists, historians, composers, and psychologists out there who theorize with number ratios. But most intervals have two ratios (Pythagorean and just) that lie within a continuous range of acceptable tunings, so neither is “correct”. Ratios only make psychological sense ...
... there are still musicians, theorists, historians, composers, and psychologists out there who theorize with number ratios. But most intervals have two ratios (Pythagorean and just) that lie within a continuous range of acceptable tunings, so neither is “correct”. Ratios only make psychological sense ...
See more information on MUS - Barbershop Harmony Society
... performer’s choices of appropriate voicings and embellishment when used to enhance the song’s theme and delivery. Embellishment- The Music judge evaluates the effectiveness with which the performer uses embellishments for their intended purpose, such as the use of rhythmic propellants to create forw ...
... performer’s choices of appropriate voicings and embellishment when used to enhance the song’s theme and delivery. Embellishment- The Music judge evaluates the effectiveness with which the performer uses embellishments for their intended purpose, such as the use of rhythmic propellants to create forw ...
2 – First Species Counterpoint
... the preceding beat presented the 3rd of this tonic harmony. Had the 3rd of the tonic chord not just sounded the fifth would have been rather coarse sounding. Example 2-1b also uses the rather rare interval of a diminished 5th near the end. This interval can be very effective but it must resolve inwa ...
... the preceding beat presented the 3rd of this tonic harmony. Had the 3rd of the tonic chord not just sounded the fifth would have been rather coarse sounding. Example 2-1b also uses the rather rare interval of a diminished 5th near the end. This interval can be very effective but it must resolve inwa ...
Prime Numbers in Music Tonality
... of 20 to 20,000 Hertz. For most, the range is more like 50 to 15,000 Hertz. An absence of energy is referred to as silence and all frequencies with equal energy heard simultaneously is called white noise. As far as music is concerned, everything in between is free range for musical composition. Sinc ...
... of 20 to 20,000 Hertz. For most, the range is more like 50 to 15,000 Hertz. An absence of energy is referred to as silence and all frequencies with equal energy heard simultaneously is called white noise. As far as music is concerned, everything in between is free range for musical composition. Sinc ...
here
... - Polychords – simultaneous use of two or more simple chords (common in 20th century compositions) - Tone Cluster – truly simultaneous musical chord comprised of consecutive tones separated chromatically: sound very dissonant - Open fifths – the tonic and dominant note of the chord, without the medi ...
... - Polychords – simultaneous use of two or more simple chords (common in 20th century compositions) - Tone Cluster – truly simultaneous musical chord comprised of consecutive tones separated chromatically: sound very dissonant - Open fifths – the tonic and dominant note of the chord, without the medi ...
Higher Music Concepts
... played by cello, bass, viola da gamba or bassoon, along with which was the harpsichord, organ or lute which filled in harmonies built on the bass line. Sometimes numbers were written under the bass line indicating which chords to play. ...
... played by cello, bass, viola da gamba or bassoon, along with which was the harpsichord, organ or lute which filled in harmonies built on the bass line. Sometimes numbers were written under the bass line indicating which chords to play. ...
MUSICAL ACOUSTICS Tutorial 2: Solution Guide
... the square of the distance from the source. What does “isotropic” mean? If you stand 3 m from a bagpipe player on a flat moor and measure a Sound Pressure Level of 90 dB, what SPL will you measure at a distance of (a) 30 m; (b) 300 m? An isotropic sound source is one which radiates sound with equal ...
... the square of the distance from the source. What does “isotropic” mean? If you stand 3 m from a bagpipe player on a flat moor and measure a Sound Pressure Level of 90 dB, what SPL will you measure at a distance of (a) 30 m; (b) 300 m? An isotropic sound source is one which radiates sound with equal ...
Perfect Intervals
... well, if you were to count the semitones that make up each interval, you’d notice that all the other ones are equal in size, but the b to f intervals are not: f to b is a semitone larger than a perfect fourth, and b to f is a semitone smaller than a perfect fifth. ...
... well, if you were to count the semitones that make up each interval, you’d notice that all the other ones are equal in size, but the b to f intervals are not: f to b is a semitone larger than a perfect fourth, and b to f is a semitone smaller than a perfect fifth. ...
Investigate the mathematics behind the tuning systems of Wendy
... Introduction - The twelve-tone equal temperament has been the dominant tuning system used in Western music for centuries. However, this has not always been the case. There exists a large variety of different tunings, more or less used depending on time and place, from the Pythagorean scale to meanto ...
... Introduction - The twelve-tone equal temperament has been the dominant tuning system used in Western music for centuries. However, this has not always been the case. There exists a large variety of different tunings, more or less used depending on time and place, from the Pythagorean scale to meanto ...
Music, Mathematics and Bach --------~--------
... it is essentially the scale most commonly used in music, the scale of Raga Shankarabharanam, known in western music as the major scale. In fact, the first and the third notes in the above Pythagorean scale also seem to have a certain close relationship and sound pleasant when played together, or suc ...
... it is essentially the scale most commonly used in music, the scale of Raga Shankarabharanam, known in western music as the major scale. In fact, the first and the third notes in the above Pythagorean scale also seem to have a certain close relationship and sound pleasant when played together, or suc ...
POTTER VOICE STUDIO INTERVALS , SCALES , KE Y
... An interval is the distance between two notes. Intervals are always counted from the lower note to the higher one, with the lower note being counted as one. Intervals come in different qualities and size. If the notes are sounded successively, it is a melodic interval. If sounded simultaneously, the ...
... An interval is the distance between two notes. Intervals are always counted from the lower note to the higher one, with the lower note being counted as one. Intervals come in different qualities and size. If the notes are sounded successively, it is a melodic interval. If sounded simultaneously, the ...
Milhaud Describes Polytonality
... that provides the basis for this scale is the augmented triad. This harmonic system, so skillfully used by Debussy, avoids diatonic tonality due to the absence of a scale with semitones. It cannot be part of the domain of atonality, whose existence is based on chromaticism, nor that of polytonality ...
... that provides the basis for this scale is the augmented triad. This harmonic system, so skillfully used by Debussy, avoids diatonic tonality due to the absence of a scale with semitones. It cannot be part of the domain of atonality, whose existence is based on chromaticism, nor that of polytonality ...
Tonal Harmony Chapter 7 Harmonic Progression and the Sequence
... Other harmonic sequences beside the circle-of-fifths sequence do occur Things to remember about sequences: 1. Sequential pattern may result in unusual doublings (root position dimished chords, and unusual leaps, all acceptable in a sequence) 2. Chords may not function in a sequence in their usua ...
... Other harmonic sequences beside the circle-of-fifths sequence do occur Things to remember about sequences: 1. Sequential pattern may result in unusual doublings (root position dimished chords, and unusual leaps, all acceptable in a sequence) 2. Chords may not function in a sequence in their usua ...
Notes for Class 3 - Midcoast Senior College
... Schoenberg and his students Webern & Berg These composers build upon the legacy of late-19th century Romantic (Austro-German) music, which may be summarized as follows: (1) Music as highly “EXPRESSIVE” statement, very often PROGRAMMATIC (i.e. in its extra-musical references). At times even autobiogr ...
... Schoenberg and his students Webern & Berg These composers build upon the legacy of late-19th century Romantic (Austro-German) music, which may be summarized as follows: (1) Music as highly “EXPRESSIVE” statement, very often PROGRAMMATIC (i.e. in its extra-musical references). At times even autobiogr ...
Intonation, Tuning, and Blending
... ◦ Also known as Resonance or Ghost Tones ◦ The faint presence of a tone whose frequency is equal to the difference between the frequencies of the two notes actually being played. Usually an octave or two lower. ◦ The pitches being played must be adjusted so the fundamental sounds in tune. Trio for ...
... ◦ Also known as Resonance or Ghost Tones ◦ The faint presence of a tone whose frequency is equal to the difference between the frequencies of the two notes actually being played. Usually an octave or two lower. ◦ The pitches being played must be adjusted so the fundamental sounds in tune. Trio for ...
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.