On Serial Music
... first. Indeed nearly all of his works break the rules at some time. If he felt that repeating a note before all twelve have been used would create a smoother line (see later for a discussion of this rule), he would. When writing a melody in a serial composition, he realised that structures such as ...
... first. Indeed nearly all of his works break the rules at some time. If he felt that repeating a note before all twelve have been used would create a smoother line (see later for a discussion of this rule), he would. When writing a melody in a serial composition, he realised that structures such as ...
A Periodicity-Based Approach on Harmony Perception Including
... by fractions. They should all have the same, smallest possible denominator n. It corresponds to the overall period length of the harmony, i.e. its harmonicity. Clearly, the best approximation of the frequency ratio x = Fi by a fraction with denominator n is y = [n Fi ]/n. Here, [·] is the rounding f ...
... by fractions. They should all have the same, smallest possible denominator n. It corresponds to the overall period length of the harmony, i.e. its harmonicity. Clearly, the best approximation of the frequency ratio x = Fi by a fraction with denominator n is y = [n Fi ]/n. Here, [·] is the rounding f ...
Tonal Harmony Chapter 15 Other Diatonic Seventh Chords
... The other diatonic built on 1st, 3rd, 4th, and 6th degree are much less commonly used in traditional tonal music One context in which they are relatively common is in circle-of-fifths sequences The IV7 Chord Similar to the subdominant triad, subdominant seventh moves to V (or iio6) Often pas ...
... The other diatonic built on 1st, 3rd, 4th, and 6th degree are much less commonly used in traditional tonal music One context in which they are relatively common is in circle-of-fifths sequences The IV7 Chord Similar to the subdominant triad, subdominant seventh moves to V (or iio6) Often pas ...
AP Music Theory - Somerset Academy
... 6th – Submediant 7th – Subtonic or leading tone – depends on whether it is raised ...
... 6th – Submediant 7th – Subtonic or leading tone – depends on whether it is raised ...
Music Fundamentals Primer Lesson 4
... A triad is a group of three notes that sound at the same time. In much tonal music, chords are built by stacking thirds on top of each other, creating what is known as tertian harmony. A tertian triad is a chord with three notes that is built with thirds. Even when a chord is spread out over several ...
... A triad is a group of three notes that sound at the same time. In much tonal music, chords are built by stacking thirds on top of each other, creating what is known as tertian harmony. A tertian triad is a chord with three notes that is built with thirds. Even when a chord is spread out over several ...
See more information on MUS - Barbershop Harmony Society
... Rhythm and Meter – Extremely complicated rhythms are not characteristic of the barbershop style and will result in a lower Music score. Beyond that, any rhythm that the performer can sing while maintaining quality barbershop sound is acceptable. The song should use only standard meters such as 2/4, ...
... Rhythm and Meter – Extremely complicated rhythms are not characteristic of the barbershop style and will result in a lower Music score. Beyond that, any rhythm that the performer can sing while maintaining quality barbershop sound is acceptable. The song should use only standard meters such as 2/4, ...
Matt Pike Music 122 Final Paper Ravel – String Quartet in F Major
... makes use of a very colorful harmonic palette. He makes good use of pentatonic and whole tone scales and the tritone plays a leading role in his music. His use of the tritone is somewhat like the serving of water between courses of a meal. They function to eradicate the sense of a tonic and put the ...
... makes use of a very colorful harmonic palette. He makes good use of pentatonic and whole tone scales and the tritone plays a leading role in his music. His use of the tritone is somewhat like the serving of water between courses of a meal. They function to eradicate the sense of a tonic and put the ...
New Harmonic Resources
... b. As a scale: related to the whole-tone scale (with A-natural instead of A-flat) c. As a dominant thirteenth/sharp eleven chord (with added G) d. As a chord with mixed intervals ...
... b. As a scale: related to the whole-tone scale (with A-natural instead of A-flat) c. As a dominant thirteenth/sharp eleven chord (with added G) d. As a chord with mixed intervals ...
Tonic and Dominant
... known as free resolution of the leading tone. This can ONLY occur if the leading tone is in an inner voice. ...
... known as free resolution of the leading tone. This can ONLY occur if the leading tone is in an inner voice. ...
NJCCS Elements of Music
... tonic. It is called the dominant chord (sol-ti-re). The dominant chord is strongly pulled toward the tonic chord. This attraction has great importance in music. A dominant chord sets up tension that is resolved by the tonic chord. A progression from dominant chord to tonic chord is called a cadence. ...
... tonic. It is called the dominant chord (sol-ti-re). The dominant chord is strongly pulled toward the tonic chord. This attraction has great importance in music. A dominant chord sets up tension that is resolved by the tonic chord. A progression from dominant chord to tonic chord is called a cadence. ...
Unit 8 Practice Test
... A) the continuation of old forms B) stagnation C) revolt and change D) disinterest 2) Which of the following statements is not true? A) Twentieth-century music follows the same general principles of musical structure as earlier periods. B) After 1900 each musical composition is more likely to have a ...
... A) the continuation of old forms B) stagnation C) revolt and change D) disinterest 2) Which of the following statements is not true? A) Twentieth-century music follows the same general principles of musical structure as earlier periods. B) After 1900 each musical composition is more likely to have a ...
Don Gray - Arranging Barbershop
... 3. More-consonant chords can be substituted without overly distorting the "popular" harmony; e.g., Barbershop 7ths in place of diminished or augmented chords. It may be useful to first write in the appropriate chords for the "pillars" (held notes, or places where the harmony/root changes), for a blo ...
... 3. More-consonant chords can be substituted without overly distorting the "popular" harmony; e.g., Barbershop 7ths in place of diminished or augmented chords. It may be useful to first write in the appropriate chords for the "pillars" (held notes, or places where the harmony/root changes), for a blo ...
Chapter 15 - SFA Physics and Astronomy
... harmonics generated in the room and ear to permit good interval setting. Intervals set at low loudness with large gaps between the tones tend to be too wide in frequency. ...
... harmonics generated in the room and ear to permit good interval setting. Intervals set at low loudness with large gaps between the tones tend to be too wide in frequency. ...
Maths and music - Project Jugaad
... semitone rises for each successive note. They are equal in the sense that the ratio of the frequencies of any two adjacent notes is always the same. This property ensures that each note is the same as any other note (except for pitch). This uniformity of the notes allows the composer or performer to ...
... semitone rises for each successive note. They are equal in the sense that the ratio of the frequencies of any two adjacent notes is always the same. This property ensures that each note is the same as any other note (except for pitch). This uniformity of the notes allows the composer or performer to ...
vocabulary - Berkner AP Music Theory
... Half-step (H) – The shortest distance between two pitches Harmonic Minor Scale – An octave encompassing the following half-step and whole- step configuration: WHWWH(W+H)H (the 7th scale degree is raised from the natural minor) Harmony – The study of the structure, progression, and relationships of ...
... Half-step (H) – The shortest distance between two pitches Harmonic Minor Scale – An octave encompassing the following half-step and whole- step configuration: WHWWH(W+H)H (the 7th scale degree is raised from the natural minor) Harmony – The study of the structure, progression, and relationships of ...
vocabulary - AP Music Theory
... Half-step (H) – The shortest distance between two pitches Harmonic Minor Scale – An octave encompassing the following half-step and whole- step configuration: WHWWH(W+H)H (the 7th scale degree is raised from the natural minor) Harmony – The study of the structure, progression, and relationships of c ...
... Half-step (H) – The shortest distance between two pitches Harmonic Minor Scale – An octave encompassing the following half-step and whole- step configuration: WHWWH(W+H)H (the 7th scale degree is raised from the natural minor) Harmony – The study of the structure, progression, and relationships of c ...
Music Theory answers
... Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two common chord qualities have we discussed? Major and Minor ...
... Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two common chord qualities have we discussed? Major and Minor ...
here
... Modulation to dominant key When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
... Modulation to dominant key When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
Areas_of_study
... Modulation to dominant key When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
... Modulation to dominant key When a piece of music changes to the key of the 5th chord. E.g. music in C major would modulate to G major. G is the 5th chord of C major. ...
Melody - Cengage Learning
... Moves largely by step Uses only one note for each word or syllable Music expresses very well the idea of the words Has a very simple accompanying part ...
... Moves largely by step Uses only one note for each word or syllable Music expresses very well the idea of the words Has a very simple accompanying part ...
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.