Troubles with Tonal Terminology
... usually three or four chords). Vega’s concept of bimodality was useful in explaining harmony in many different types of popular music. All italics and underlinings are mine. For a thorough discussion of the Scotch snap, see Tagg (2011a). Neither Sub‐Saharan cross‐rhythm not the fluctuating to‐and ...
... usually three or four chords). Vega’s concept of bimodality was useful in explaining harmony in many different types of popular music. All italics and underlinings are mine. For a thorough discussion of the Scotch snap, see Tagg (2011a). Neither Sub‐Saharan cross‐rhythm not the fluctuating to‐and ...
Chords symbols and their chords
... underlying reason for this seemingly strange result is that when we are figuring out the size of an interval by counting notes up a scale, we call the lower note note one instead of note zero.] More arithmetic! Notice that the note an octave higher than the first is the eighth, and that 8 is seven m ...
... underlying reason for this seemingly strange result is that when we are figuring out the size of an interval by counting notes up a scale, we call the lower note note one instead of note zero.] More arithmetic! Notice that the note an octave higher than the first is the eighth, and that 8 is seven m ...
The Motive - AState.edu
... logic, comprehensibility, and fluency to a musical fabric." 1A motive must be repeated. While repetition produces motivic identity and clarity, it also produces monotony. Therefore, variation or change must be introduced. It is important that the variation of a motive take a course that is coherent ...
... logic, comprehensibility, and fluency to a musical fabric." 1A motive must be repeated. While repetition produces motivic identity and clarity, it also produces monotony. Therefore, variation or change must be introduced. It is important that the variation of a motive take a course that is coherent ...
DISCOVERING CHORD IDIOMS THROUGH BEATLES AND REAL BOOK SONGS
... identifies the structure of the chord, e.g. a minor triad in root position (0, {0, 3, 7}), or the second inversion of a dominant 7th chord (7, {0, 4, 7, 10}). Although studying the use of specific chord types is in itself interesting, for discovering general chord idioms it ...
... identifies the structure of the chord, e.g. a minor triad in root position (0, {0, 3, 7}), or the second inversion of a dominant 7th chord (7, {0, 4, 7, 10}). Although studying the use of specific chord types is in itself interesting, for discovering general chord idioms it ...
Walter Piston, Practical Theorist
... may be of interest to find that two different melodies can be reduced to the same simple scale line, but the value of this as a discovery can be, and often is, greatly overestimated. ...It is important to see that in the process of analysis and simplification we do not destroy or lose sight of those ...
... may be of interest to find that two different melodies can be reduced to the same simple scale line, but the value of this as a discovery can be, and often is, greatly overestimated. ...It is important to see that in the process of analysis and simplification we do not destroy or lose sight of those ...
Seventh Chords
... The seventh of a chord is a harmonic tone, but it forms a dissonant relationship with the root. An examination of preBach examples of seventh chords shows that the seventh is usually preceded by a consonance and is resolved downward to a consonance. The dissonant seventh is preceded and followe ...
... The seventh of a chord is a harmonic tone, but it forms a dissonant relationship with the root. An examination of preBach examples of seventh chords shows that the seventh is usually preceded by a consonance and is resolved downward to a consonance. The dissonant seventh is preceded and followe ...
Chapter One Introduction to Quarter
... familiar musical entities. Conventional musical objects are those that would be familiar to any trained musician—examples of such objects include conventional pitches (such as Fe or Et), conventional intervals (such as the minor third or the tritone), or conventional chords (such as the major triad ...
... familiar musical entities. Conventional musical objects are those that would be familiar to any trained musician—examples of such objects include conventional pitches (such as Fe or Et), conventional intervals (such as the minor third or the tritone), or conventional chords (such as the major triad ...
A propos du « mouvement musical » chez Debussy :
... One interval plays therefore a critical role: the tritone, or to identify it in a more neutral manner, interval class 6. This interval already played a special role in the tonal idiom. It is no exaggeration to say that tonality rests entirely on a specific interpretation of the tritone, the only int ...
... One interval plays therefore a critical role: the tritone, or to identify it in a more neutral manner, interval class 6. This interval already played a special role in the tonal idiom. It is no exaggeration to say that tonality rests entirely on a specific interpretation of the tritone, the only int ...
A permutational triadic approach to jazz harmony and the chord
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
Dissertation MUSI591 – 10C (HAM)
... progressions; elsewhere, the diatonic progressions are contained within a highly chromatic modulation scheme; elsewhere again, harmonic progressions are founded on the succession of identical chords in a sequence, such as consecutive seventh chords. Op. 28 thus embodies a wide range of the harmonic ...
... progressions; elsewhere, the diatonic progressions are contained within a highly chromatic modulation scheme; elsewhere again, harmonic progressions are founded on the succession of identical chords in a sequence, such as consecutive seventh chords. Op. 28 thus embodies a wide range of the harmonic ...
Expanded tonality - Scholar Commons
... harmonic material. As composers seek new ways to modify traditional practices, they assign the function of leading tone to both diatonic and chromatic pitches. The treatment of an upper/lower leading tone to both tonic and dominant, is a technique that creates a framework in which tonality can retai ...
... harmonic material. As composers seek new ways to modify traditional practices, they assign the function of leading tone to both diatonic and chromatic pitches. The treatment of an upper/lower leading tone to both tonic and dominant, is a technique that creates a framework in which tonality can retai ...
Scales and temperaments: the fivefold way
... After the octave and the fth, the next most interesting ratio is 4:3. If we follow a perfect fth (ratio 3:2) by the ratio 4:3, we obtain a ratio of 4:2 or 2:1, which is an octave. So 4:3 is an octave minus a perfect fth, or a perfect fourth. So this gives us nothing new. The next new interval is ...
... After the octave and the fth, the next most interesting ratio is 4:3. If we follow a perfect fth (ratio 3:2) by the ratio 4:3, we obtain a ratio of 4:2 or 2:1, which is an octave. So 4:3 is an octave minus a perfect fth, or a perfect fourth. So this gives us nothing new. The next new interval is ...
At The Cutting Edge: Three American Theorists at The End of The
... "Progressive Harmonic Theory in the Mid-Nineteenth Century," Journal of Musicological Research 8 (1988:55-90) provides an exemplary instance of work likely ...
... "Progressive Harmonic Theory in the Mid-Nineteenth Century," Journal of Musicological Research 8 (1988:55-90) provides an exemplary instance of work likely ...
The Line of Fifths
... in this case, the centre of gravity for the passage ± the mean position of events on the line of fifths ± will be exactly at D, and all the events of the passage will lie three steps or fewer from the centre of gravity (see Fig. 4). (This also seems to be roughly correct in practice; for actual musi ...
... in this case, the centre of gravity for the passage ± the mean position of events on the line of fifths ± will be exactly at D, and all the events of the passage will lie three steps or fewer from the centre of gravity (see Fig. 4). (This also seems to be roughly correct in practice; for actual musi ...
the division of the monochord according
... however, preferring the sound of pure intervals and contending on a daily basis with the ever-increasing use of ...
... however, preferring the sound of pure intervals and contending on a daily basis with the ever-increasing use of ...
Dissonant Harmony and “Seed-Tones”
... considerable effort to understand how his mystical ideas relate to standard music theoretical concepts. Rudhyar’s piano music exploits the sounding board to integrate myriad disparate tones into complex multipartite sonorities resembling the sounds of gongs and bells, which often feature many non-ha ...
... considerable effort to understand how his mystical ideas relate to standard music theoretical concepts. Rudhyar’s piano music exploits the sounding board to integrate myriad disparate tones into complex multipartite sonorities resembling the sounds of gongs and bells, which often feature many non-ha ...
Chords and Ragas based on the Melodic minor scale
... For example if we do not use the D1, the resulting scale has the same notes as the Raga Kalyani, without a Pa. Look for janya ragas of raga Kalyani, which do not use Pa. Use this Wikipedia list of Janya ragas (scroll down to number 65, Mechakalyani). e.g.Raga Kalyānadāyini: Arohana: S R2 G3 M2 D2 N3 ...
... For example if we do not use the D1, the resulting scale has the same notes as the Raga Kalyani, without a Pa. Look for janya ragas of raga Kalyani, which do not use Pa. Use this Wikipedia list of Janya ragas (scroll down to number 65, Mechakalyani). e.g.Raga Kalyānadāyini: Arohana: S R2 G3 M2 D2 N3 ...
Trio for Piano, Oboe and Bassoon
... Poulenc – Life and times • Francis Poulenc was born into a well-to-do family in Paris in 1899. His father was a director of a chemical company, while his mother, an amateur pianist, gave Poulenc his first lessons. She also instilled in him a love for Mozart, Chopin, Schumann, Scarlatti and Couperin ...
... Poulenc – Life and times • Francis Poulenc was born into a well-to-do family in Paris in 1899. His father was a director of a chemical company, while his mother, an amateur pianist, gave Poulenc his first lessons. She also instilled in him a love for Mozart, Chopin, Schumann, Scarlatti and Couperin ...
Minor Keys and Scales
... develops dierently harmonically. So you can't, for example, transpose5 a piece from C major to D minor (or even to C minor) without changing it a great deal. Music that is in a minor key is sometimes described as sounding more solemn, sad, mysterious, or ominous than music that is in a major key. T ...
... develops dierently harmonically. So you can't, for example, transpose5 a piece from C major to D minor (or even to C minor) without changing it a great deal. Music that is in a minor key is sometimes described as sounding more solemn, sad, mysterious, or ominous than music that is in a major key. T ...
(1) Sound and Music
... 261.63 Hz. For example, you could refer to 'A above Middle C' as we did earlier. The 'middle' in Middle C comes from it being the C note in the centre of the piano keyboard. It is also the note in between the bass and treble staff lines in standard musical notation (more on this later). ...
... 261.63 Hz. For example, you could refer to 'A above Middle C' as we did earlier. The 'middle' in Middle C comes from it being the C note in the centre of the piano keyboard. It is also the note in between the bass and treble staff lines in standard musical notation (more on this later). ...
Scelsi, De-composer
... This is particularly clear in the vocal writing, where the consonants act as attack transients, while timbre is controlled precisely by the vowels. In the pieces for solo strings, Scelsi frequently calls for a scordatura which makes it possible to play the same pitch (or pitches separated by very sm ...
... This is particularly clear in the vocal writing, where the consonants act as attack transients, while timbre is controlled precisely by the vowels. In the pieces for solo strings, Scelsi frequently calls for a scordatura which makes it possible to play the same pitch (or pitches separated by very sm ...
AP Music Theory Syllabus
... Attend concerts of all types of music; analyze the concert for all musical elements. Expectations of Students 1. Students will participate in all classroom discussions and activities. 2. Students will complete all assigned exercises and readings. 3. Students will keep and maintain a Music Theory not ...
... Attend concerts of all types of music; analyze the concert for all musical elements. Expectations of Students 1. Students will participate in all classroom discussions and activities. 2. Students will complete all assigned exercises and readings. 3. Students will keep and maintain a Music Theory not ...
This Worldes Joie Part 1 analysis
... be a good idea to examine the musical properties of the octatonic scale as well as some harmonic techniques associated with its use. The octatonic scale – a brief note The octatonic scale consists of eight steps of alternating semitones and tones (or vice versa). Despite traces of octatonic writing ...
... be a good idea to examine the musical properties of the octatonic scale as well as some harmonic techniques associated with its use. The octatonic scale – a brief note The octatonic scale consists of eight steps of alternating semitones and tones (or vice versa). Despite traces of octatonic writing ...
... You may have noticed that Examples 8.2 and 8.5 do not exhaust all the possible combinations of triads and sevenths. For example, you could write an augmented triad with a major or minor seventh, or a minor triad with a major seventh. Although these seventh chords are not found in common-practice ton ...
CURRICULUM GUIDE VISUAL/PERFORMING ARTS DEPT
... Unit 4: Repeat Signs, 1st and 2nd Endings; Eighth Notes/Rests and Dotted Quarter Note Unit 5: Dynamic Signs, Tempo Marks, Articulation and Directional Terms Unit 6: Accidentals, Whole Steps/Half Steps and Enharmonic Notes Unit 7: Major Scales and Key Signatures Unit 8: All Major scales and Key Signa ...
... Unit 4: Repeat Signs, 1st and 2nd Endings; Eighth Notes/Rests and Dotted Quarter Note Unit 5: Dynamic Signs, Tempo Marks, Articulation and Directional Terms Unit 6: Accidentals, Whole Steps/Half Steps and Enharmonic Notes Unit 7: Major Scales and Key Signatures Unit 8: All Major scales and Key Signa ...
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.