Physics 193 Physics of Music
... human ear/brain generate/create sum & difference frequencies, e.g. (fL−x+ fx) and |fL−x – fx| that do not perfectly/exactly line up with the harmonics of these two original tones, and again the generated sum/difference do not have a timeindependent/stationary phase relation relative to the fundament ...
... human ear/brain generate/create sum & difference frequencies, e.g. (fL−x+ fx) and |fL−x – fx| that do not perfectly/exactly line up with the harmonics of these two original tones, and again the generated sum/difference do not have a timeindependent/stationary phase relation relative to the fundament ...
paper - Personal Web Pages
... another musical reduction from The Madman’s Diary. Four-voice counterpoint in the electronic part mm. 358370 (4B ff.) is represented. The music of the vocal line has been omitted for clarity. As with Figure 8, the contrapuntal texture becomes clear in the reduction. ...
... another musical reduction from The Madman’s Diary. Four-voice counterpoint in the electronic part mm. 358370 (4B ff.) is represented. The music of the vocal line has been omitted for clarity. As with Figure 8, the contrapuntal texture becomes clear in the reduction. ...
The Baroque 1/4
... Progressions involving roots rising a 3rd, e.g., I – iii Weak progressions: The consecutives rule The most difficult progressions to handle are those that rise or fall by step. There is a danger of consecutive fifths and octaves, so there has to be some contrary motion. The rule of no consecutives r ...
... Progressions involving roots rising a 3rd, e.g., I – iii Weak progressions: The consecutives rule The most difficult progressions to handle are those that rise or fall by step. There is a danger of consecutive fifths and octaves, so there has to be some contrary motion. The rule of no consecutives r ...
Music Theory answers
... Notes that are marked with sharps, flats or naturals that are not in the key signature are called accidentals What is rule for accidentals? Accidentals are carried through the measure they are in. What might indicate that the tonal center or key of a piece is changing? Accidentals start to appear co ...
... Notes that are marked with sharps, flats or naturals that are not in the key signature are called accidentals What is rule for accidentals? Accidentals are carried through the measure they are in. What might indicate that the tonal center or key of a piece is changing? Accidentals start to appear co ...
1 Interlude: Two-to-One Counterpoint Introduction In the last
... the D on beat 4 is consonant with both the preceding melodic pitch F (a sixth) and the cantus firmus pitch D (an octave). There are two other points to remember about this type of weak-beat pitch. First, since we are following the melodic guidelines from Interlude A, remember to prepare and resolve ...
... the D on beat 4 is consonant with both the preceding melodic pitch F (a sixth) and the cantus firmus pitch D (an octave). There are two other points to remember about this type of weak-beat pitch. First, since we are following the melodic guidelines from Interlude A, remember to prepare and resolve ...
A Few Notes on the Piano Works of Luca Lombardi
... reference to Boulez’s Répons). Also significant are these remarks by Foucault: “Listening to music becomes more difficult in proportion as composing frees itself from such stratagems such as formal schemes, signals, and tangible signs of a repetitive structure”. Obviously there are various ways of b ...
... reference to Boulez’s Répons). Also significant are these remarks by Foucault: “Listening to music becomes more difficult in proportion as composing frees itself from such stratagems such as formal schemes, signals, and tangible signs of a repetitive structure”. Obviously there are various ways of b ...
Absolute music. Music that makes no intentional reference to a non
... acoustical theories from Pythagoras to Helmholtz. Intervals (the distance from one note to another] considered consonant in the common practice of tonal music are unisons, octaves, perfect fifths and fourths, and both major and minor sixths. Costumes. The clothing worn on stage by the performers. Co ...
... acoustical theories from Pythagoras to Helmholtz. Intervals (the distance from one note to another] considered consonant in the common practice of tonal music are unisons, octaves, perfect fifths and fourths, and both major and minor sixths. Costumes. The clothing worn on stage by the performers. Co ...
Music for Small Ensemble
... Both pieces comprise three sections, each one repeated Melody and Rhythm Melodic lines move generally by step, with few large leaps – similar to vocal music, especially in the Pavane Opening motive of the Pavane (descending 4th from tonic to dominant, starting from a long note) is a symbol of ...
... Both pieces comprise three sections, each one repeated Melody and Rhythm Melodic lines move generally by step, with few large leaps – similar to vocal music, especially in the Pavane Opening motive of the Pavane (descending 4th from tonic to dominant, starting from a long note) is a symbol of ...
KS4 Booklet 2012 - St Michael`s Catholic Academy
... 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. ...
12-13 A S05 rubric
... the blues, and create a short blues melody with lyrics. TSW6 define and recognize consonance and dissonance. TSW7 listen to samples of music from each of the Renaissance, Baroque, Classical and Romantic periods, identifying and comparing their general musical characteristics. TSW8 listen to samples ...
... the blues, and create a short blues melody with lyrics. TSW6 define and recognize consonance and dissonance. TSW7 listen to samples of music from each of the Renaissance, Baroque, Classical and Romantic periods, identifying and comparing their general musical characteristics. TSW8 listen to samples ...
hw3
... b. Which interval is worst approximated (in cents) by an equally tempered interval? Other than the octave, which is best approximated? c. How many pure fifths are there in this scale? Draw lines on the template and identify them by letter names. (There is more than one.) d. How many pure major third ...
... b. Which interval is worst approximated (in cents) by an equally tempered interval? Other than the octave, which is best approximated? c. How many pure fifths are there in this scale? Draw lines on the template and identify them by letter names. (There is more than one.) d. How many pure major third ...
Theory 9-26 - Introduction to Music Theory
... MOVEABLE DO = the syllables apply to the same scale degrees, regardless of what key you are in. When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so ...
... MOVEABLE DO = the syllables apply to the same scale degrees, regardless of what key you are in. When a melody is rewritten into another key with the exact same sequence of notes and intervals, it is called TRANSPOSITION. This raises or lowers the notes to make a melody easier to sing or play, or so ...
Popular Music Theory - The Academy Of Popular Music
... For example, in twelve-tone equal temperament* the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard (see below), and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressi ...
... For example, in twelve-tone equal temperament* the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard (see below), and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressi ...
Lecture 14a: Additional Remarks on Tuning Systems In previous
... taking the 7th harmonic transposed down two octaves. The “major 7th chord”, which uses the root, plus a major third, fifth, and minor 7th above the root, is extremely common in classical harmony. In section 6.1 several examples of 7-limit system are given, together with an 11-limit system (dividing ...
... taking the 7th harmonic transposed down two octaves. The “major 7th chord”, which uses the root, plus a major third, fifth, and minor 7th above the root, is extremely common in classical harmony. In section 6.1 several examples of 7-limit system are given, together with an 11-limit system (dividing ...
Level C Practice Music Theory Test 2016
... 40. Circle the correct transposition down a Major 2nd from this example: ...
... 40. Circle the correct transposition down a Major 2nd from this example: ...
Word - asboa
... A sequence of eight notes arranged in the following specific pattern of whole and half steps, beginning and ending with the tonic: tonic, whole step, whole step, half step, whole step, whole step, whole step, half step to tonic European music written during the Middle Ages The same as the natural mi ...
... A sequence of eight notes arranged in the following specific pattern of whole and half steps, beginning and ending with the tonic: tonic, whole step, whole step, half step, whole step, whole step, whole step, half step to tonic European music written during the Middle Ages The same as the natural mi ...
05 Elements Unit 5
... The Octave The Octave is basic interval in all of music and of course the letter name is the same for each octave because they sound so much alike. In physics, A vibrating string sounds a certain pitch. When the length is shortened by half it produces a wave length twice as fast and sounds an oc ...
... The Octave The Octave is basic interval in all of music and of course the letter name is the same for each octave because they sound so much alike. In physics, A vibrating string sounds a certain pitch. When the length is shortened by half it produces a wave length twice as fast and sounds an oc ...
Tonality vs. Atonality
... Characteristics of Traditional Harmony: • Tonality. A tonal center embodied in the tonic triad. • Tonality is established by the progression V-I and the resolution of the leading tone to the tonic pitch. Harmonic progressions point towards the tonic. • Functional harmony. Chords are polarized around ...
... Characteristics of Traditional Harmony: • Tonality. A tonal center embodied in the tonic triad. • Tonality is established by the progression V-I and the resolution of the leading tone to the tonic pitch. Harmonic progressions point towards the tonic. • Functional harmony. Chords are polarized around ...
Document
... C, C#, D, D#, E, F, F#, G, G#, A, A#, B Note that C7dim is the same as D#7dim, F#7dim and A7dim. This is an ambiguous chord and can resolve into many possible chords. There are only 4 diminished 7th chords. ...
... C, C#, D, D#, E, F, F#, G, G#, A, A#, B Note that C7dim is the same as D#7dim, F#7dim and A7dim. This is an ambiguous chord and can resolve into many possible chords. There are only 4 diminished 7th chords. ...
musicianship project - 2011
... are also perfect 5ths intervals. The first three notes in the soprano and alto voice are major 3rd intervals, the first two notes skip. The fourth note in the soprano and alto voice in m.40 is a major 6th. In measure 41 the tenor and alto notes move up consecutively in eighth notes. The notes in the ...
... are also perfect 5ths intervals. The first three notes in the soprano and alto voice are major 3rd intervals, the first two notes skip. The fourth note in the soprano and alto voice in m.40 is a major 6th. In measure 41 the tenor and alto notes move up consecutively in eighth notes. The notes in the ...
Tippett * Concerto for double string orchestra: movement I
... Interestingly, Tippett chooses to use whole tone melodic patterns for much of the following section, thereby obscuring the sense of tonality. As the Recapitulation is reached (b.1 29) there is a firm return to A , which is maintained thereaf ter as the centre of tonality until the coda. The Co ...
... Interestingly, Tippett chooses to use whole tone melodic patterns for much of the following section, thereby obscuring the sense of tonality. As the Recapitulation is reached (b.1 29) there is a firm return to A , which is maintained thereaf ter as the centre of tonality until the coda. The Co ...
Characterisation of composer style using high
... sections where one or more voices are resting for a number of bars at a time, in which case the ‘Other’ category is incremented for each beat. This category could perhaps be used in the future as a measure of the presence of polyphony versus homophony in a work. The ’Parallels’ data (Figure 2) repre ...
... sections where one or more voices are resting for a number of bars at a time, in which case the ‘Other’ category is incremented for each beat. This category could perhaps be used in the future as a measure of the presence of polyphony versus homophony in a work. The ’Parallels’ data (Figure 2) repre ...
Music 11, 7/10/06 Scales/Intervals We already know half steps and
... Suppose we take the two notes that make up a second, and “flip” them over—that is, lets put the lower note up an octave, so that it lies above the other note. The distance between E-D is now D-E. We say that the “inversion” of E-D is D-E, and the interval that results is not a second, but instead a ...
... Suppose we take the two notes that make up a second, and “flip” them over—that is, lets put the lower note up an octave, so that it lies above the other note. The distance between E-D is now D-E. We say that the “inversion” of E-D is D-E, and the interval that results is not a second, but instead a ...
Chapter 3 Melody and Harmony
... Most music centers around a home pitch ─ the key center or tonic Most pieces usually begin, spend a good share of the time in, and return to their key center or tonic. ...
... Most music centers around a home pitch ─ the key center or tonic Most pieces usually begin, spend a good share of the time in, and return to their key center or tonic. ...
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.