Music, Cognition, and Computerized Sound: Chap14
... the pitch frequency of the lower tone. For the major third f/F5M5 4, and all frequencies present are harmonics of a frequency two octaves (1/4) below the pitch frequency of the lower tone. For the minor third, f/F5M55, and all frequencies present are harmonics of a frequency two octaves and a major ...
... the pitch frequency of the lower tone. For the major third f/F5M5 4, and all frequencies present are harmonics of a frequency two octaves (1/4) below the pitch frequency of the lower tone. For the minor third, f/F5M55, and all frequencies present are harmonics of a frequency two octaves and a major ...
Appendix H Musical Concepts
... Motives - Musical works often contain brief groupings of rhythmic or pitch patterns called motives. These motives may function as identifiable elements in musical compositions. Themes - Musical works often contain melodies, which may function as identifiable themes. Phrases and Periods/Sentences - A ...
... Motives - Musical works often contain brief groupings of rhythmic or pitch patterns called motives. These motives may function as identifiable elements in musical compositions. Themes - Musical works often contain melodies, which may function as identifiable themes. Phrases and Periods/Sentences - A ...
study guide - Junior High Band
... playing the notes that change from scale to scale. Example: When playing in F7 (F G A Bb C D Eb) and moving to Bb7 (Bb C D Eb F G Ab) emphasize the A in the F scale and the Ab in the Bb scale. All the other notes are the same in both scales. ...
... playing the notes that change from scale to scale. Example: When playing in F7 (F G A Bb C D Eb) and moving to Bb7 (Bb C D Eb F G Ab) emphasize the A in the F scale and the Ab in the Bb scale. All the other notes are the same in both scales. ...
ROOTS LEVEL - Youth Music Project
... Complete and demonstrate benchmarks from Piano Roots READING: ...
... Complete and demonstrate benchmarks from Piano Roots READING: ...
CHAPTER 8
... • He wrote of treatise entitled Ars cantus mensurabilis (Art of Measured Song), which first sets forth a system to classify consonant and dissonant intervals. ...
... • He wrote of treatise entitled Ars cantus mensurabilis (Art of Measured Song), which first sets forth a system to classify consonant and dissonant intervals. ...
AP-Music-Theory-Study-Guide
... common to both keys as an intersection between them o Common tone modulation- using one or more tones that are common to both keys as an intersection between them o Phrase modulation- modulations without common chords or tones • Neighboring chord- formed by 2-3 neighbor notes occurring at the sam ti ...
... common to both keys as an intersection between them o Common tone modulation- using one or more tones that are common to both keys as an intersection between them o Phrase modulation- modulations without common chords or tones • Neighboring chord- formed by 2-3 neighbor notes occurring at the sam ti ...
Music 11, 7/24/06 Fundamental of harmony Melodies are often built
... Melodies are often built around the triad. This means that by looking at a melody, we can easily understand the harmony that it expresses. A harmony will often emerge in melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way ...
... Melodies are often built around the triad. This means that by looking at a melody, we can easily understand the harmony that it expresses. A harmony will often emerge in melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way ...
Minor Scales
... Every major scale has a relative minor. Relative minor means it shares the same key signature as the major. There are three types of minor scales: Natural minor – contains only the key signature from relative major. No pitches are altered. Harmonic Minor – the same as the natural minor sca ...
... Every major scale has a relative minor. Relative minor means it shares the same key signature as the major. There are three types of minor scales: Natural minor – contains only the key signature from relative major. No pitches are altered. Harmonic Minor – the same as the natural minor sca ...
6-Many Streams Flowing
... dissonant expressionism. In the wake of these, much of the music of both Aaron Copland and Igor Stravinsky has been called Neoclassical for its return to the classical ideas of absolute music, balance, and objectivity. Some think the popular, accessible music of Aaron Copland constitutes America ...
... dissonant expressionism. In the wake of these, much of the music of both Aaron Copland and Igor Stravinsky has been called Neoclassical for its return to the classical ideas of absolute music, balance, and objectivity. Some think the popular, accessible music of Aaron Copland constitutes America ...
study guide
... DOT- Mark after note adding ½ of notes value. SIMPLE- 2,3 & 4 meter. COMPOUND- Meters in 6,9,12 etc. KEY- Sharps and flats used to determine scale. HARMONIC MINOR- Minor scale with raised 7th. ...
... DOT- Mark after note adding ½ of notes value. SIMPLE- 2,3 & 4 meter. COMPOUND- Meters in 6,9,12 etc. KEY- Sharps and flats used to determine scale. HARMONIC MINOR- Minor scale with raised 7th. ...
Harmony Rules - Jeanie`s Online Music Studio
... * Write in the bass notes (the root of each chord). * Keep the note in common to both chords in the same part (this is the tonic of the key). * The other two parts should move as closely as possible, usually they can simply both move down a step. ...
... * Write in the bass notes (the root of each chord). * Keep the note in common to both chords in the same part (this is the tonic of the key). * The other two parts should move as closely as possible, usually they can simply both move down a step. ...
Intro to Figured Bass
... third is to be chromatically altered, a standalone sharp, flat or natural is used, which refers to the colour of the third. The figure 8 also rarely appears, unless it represents the resolution of a suspension, e.g. 9-8. The art of figured bass, then, is to determine what intervals (including the om ...
... third is to be chromatically altered, a standalone sharp, flat or natural is used, which refers to the colour of the third. The figure 8 also rarely appears, unless it represents the resolution of a suspension, e.g. 9-8. The art of figured bass, then, is to determine what intervals (including the om ...
Modern Western Tuning System - Digital Commons @ Kent State
... However I now see them both as an art and a science. I am a cellist, pianist, and trumpeter and in my pursuit to master these instruments I began to blur the lines between math and music seeing music in a more mathematical light, recognizing the distances between notes on a cello’s finger board and ...
... However I now see them both as an art and a science. I am a cellist, pianist, and trumpeter and in my pursuit to master these instruments I began to blur the lines between math and music seeing music in a more mathematical light, recognizing the distances between notes on a cello’s finger board and ...
Harmonic Analysis 1: Homophonic Texture
... (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will favor one possibility over another. Both V—vi—V and V—I—V are valid progressions, so the progressions don’t help much here. 2. If both possibiliti ...
... (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will favor one possibility over another. Both V—vi—V and V—I—V are valid progressions, so the progressions don’t help much here. 2. If both possibiliti ...
Review of Music Rudiments
... Consonance and Dissonance These are complicated and culturally-influenced terms Loosely meaning “pleasing to the ear” and “not pleasing to the ear” Can refer to a number of musical parameters For now, we will apply these terms to intervals Consonant intervals are perfect intervals (4ths a ...
... Consonance and Dissonance These are complicated and culturally-influenced terms Loosely meaning “pleasing to the ear” and “not pleasing to the ear” Can refer to a number of musical parameters For now, we will apply these terms to intervals Consonant intervals are perfect intervals (4ths a ...
Slides
... →C8 (8433.5 Hz) → (go down 7 octaves) →C1 (65.8868 Hz) Wait a minute!!!! The frequency (pitch) is high by a factor of ...
... →C8 (8433.5 Hz) → (go down 7 octaves) →C1 (65.8868 Hz) Wait a minute!!!! The frequency (pitch) is high by a factor of ...
Musical Acoustics Interval, Scales, Tuning and Temperament
... TEMPERAMENT – A system of tuning in which intervals deviate from acoustically pure (Pythagorean). INTONATION – Degree of accuracy with which pitches are produced. ...
... TEMPERAMENT – A system of tuning in which intervals deviate from acoustically pure (Pythagorean). INTONATION – Degree of accuracy with which pitches are produced. ...
20120080225201157740
... signifying the end of the composition. Repeat dots signify to go back to the facing repeat dots, or if none are facing, then back to the beginning. Other symbols include Treble Clef, Bass Clef, Tine Signature and Key Signature. 1st and 2nd endings are common in music notation. These allow for less s ...
... signifying the end of the composition. Repeat dots signify to go back to the facing repeat dots, or if none are facing, then back to the beginning. Other symbols include Treble Clef, Bass Clef, Tine Signature and Key Signature. 1st and 2nd endings are common in music notation. These allow for less s ...
Harmony from the Inside
... - To appreciate their different expressive characteristics - To enjoy deeper responses to harmony as both singers and listeners Triads: Simplest type of chord – 3 notes. Triads are the most stable, clear, open chords. Songs nearly always end on a triad. Place of rest. Note: it is still recognisably ...
... - To appreciate their different expressive characteristics - To enjoy deeper responses to harmony as both singers and listeners Triads: Simplest type of chord – 3 notes. Triads are the most stable, clear, open chords. Songs nearly always end on a triad. Place of rest. Note: it is still recognisably ...
Дисциплина «Профессиональное общение на иностранном языке
... and Igor Stravinsky’s move away from metrical rhythm. Eeri Tarasti defines musical modernism directly in terms of the dissolution of the traditional tonality and transformation of tonal language’s foundations, searching for new models in atonalism, polytonalism or other forms of altered tonality, wh ...
... and Igor Stravinsky’s move away from metrical rhythm. Eeri Tarasti defines musical modernism directly in terms of the dissolution of the traditional tonality and transformation of tonal language’s foundations, searching for new models in atonalism, polytonalism or other forms of altered tonality, wh ...
CIS 3000 Intervals Tutorial
... interval. While this might be useful in a theoretical sense we are only going to concern ourselves with the intervals that don’t have other, more standard names. Using our formula, we can quickly construct a new set of minor and diminished intervals from our previous intervals: Major second → Minor ...
... interval. While this might be useful in a theoretical sense we are only going to concern ourselves with the intervals that don’t have other, more standard names. Using our formula, we can quickly construct a new set of minor and diminished intervals from our previous intervals: Major second → Minor ...
Elements of Music: Sound, Melody, Rhythm, and Harmony
... music. Although these varied types of music sound quite different, they all involve the same components: sound, rhythm, melody, and harmony. In order to understand how these elements contribute to the music, it is necessary to become familiar with these elements and how they combine. It is also help ...
... music. Although these varied types of music sound quite different, they all involve the same components: sound, rhythm, melody, and harmony. In order to understand how these elements contribute to the music, it is necessary to become familiar with these elements and how they combine. It is also help ...
MU 139 Power Point - Montgomery College
... Melody: A series of tones forming a musical statement. Harmony: Two or more sounds happening at the same time. Usually as background. Form: Organization or structure of music. Texture: How the musical parts are woven together. Timbre (Tone): The unique individual characteristics of each so ...
... Melody: A series of tones forming a musical statement. Harmony: Two or more sounds happening at the same time. Usually as background. Form: Organization or structure of music. Texture: How the musical parts are woven together. Timbre (Tone): The unique individual characteristics of each so ...
Tonal Harmony Chapter 5 Pinciples of Voice Leading
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to as new pitch classes that are separated by the same interval Parallel 4ths are acceptable Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
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.