Music 11, 7/20/06 Texture: Homophony and Polyphony Homophony
... the chord members for any given bass note, but common practice has led us to a kind of shorthand. For now, the above list should be memorized. In future lessons on functional harmony, these numbers might take on a more meaningful definition… Seventh Chords Seventh chords have four members: root, thi ...
... the chord members for any given bass note, but common practice has led us to a kind of shorthand. For now, the above list should be memorized. In future lessons on functional harmony, these numbers might take on a more meaningful definition… Seventh Chords Seventh chords have four members: root, thi ...
Foulk - Western Michigan University
... Recognizing and Performing Intervals a list of melodies to help you learn to recognize and remember intervals collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
... Recognizing and Performing Intervals a list of melodies to help you learn to recognize and remember intervals collected by Dr. Lin Foulk, horn professor at Western Michigan University Solfege: do-re-mi-fa-so-la-ti-do use the first two intervals of the melody unless otherwise indicated ...
Sample Grade 4 Theory Paper
... 7.8 Give the number of a bar where you can see every note of the dominant 7th chord (bass part). ___________________________________________________________________________ 7.9 Give the number of a bar where the rhythm is the same in both treble and bass parts. ______________________________ ...
... 7.8 Give the number of a bar where you can see every note of the dominant 7th chord (bass part). ___________________________________________________________________________ 7.9 Give the number of a bar where the rhythm is the same in both treble and bass parts. ______________________________ ...
Required Graduate Music Theory Examinations
... Note: The levels should be completed in the order given with the program in practice mode, not mastery mode. Individuals may work on more or fewer levels depending on their own review needs. ...
... Note: The levels should be completed in the order given with the program in practice mode, not mastery mode. Individuals may work on more or fewer levels depending on their own review needs. ...
Glossary of Musical Terms
... Consonance: Intervals or chords that sound relatively stable and free of tension; as opposed to dissonance Dissonance: Intervals or chords that sound relatively tense and unstable; in opposition to consonance Functional harmony: Harmony which is based upon chord progressions, and which ultimately te ...
... Consonance: Intervals or chords that sound relatively stable and free of tension; as opposed to dissonance Dissonance: Intervals or chords that sound relatively tense and unstable; in opposition to consonance Functional harmony: Harmony which is based upon chord progressions, and which ultimately te ...
Materials of Music Study Guide Medium Melody Harmony
... The tonic is the central tone around which a melody and its harmonies are built; this principle of organization is called tonality. Dissonance is created by an unstable, or discordant, harmony, while consonance occurs with the resolution of dissonance, producing a concordant sound. In music of some ...
... The tonic is the central tone around which a melody and its harmonies are built; this principle of organization is called tonality. Dissonance is created by an unstable, or discordant, harmony, while consonance occurs with the resolution of dissonance, producing a concordant sound. In music of some ...
The demise of number ratios in music theory
... (4th Century BC; pupil of Aristotle) There is more to music than number “Mere knowledge of magnitudes does not enlighten one as to the functions of the tetrachords, or of the notes, or of the differences of the genera, or, briefly, the differences of simple and compound intervals, or the distinction ...
... (4th Century BC; pupil of Aristotle) There is more to music than number “Mere knowledge of magnitudes does not enlighten one as to the functions of the tetrachords, or of the notes, or of the differences of the genera, or, briefly, the differences of simple and compound intervals, or the distinction ...
About Diapason
... beginning and the end of the piece, the “diapason” includes harmonics from the 48th through 64th (thus defining an interval of a perfect fourth), whereas at the dynamic climax of the piece (at about two-thirds to three-quarters of the way through) it includes the first through the seventeenth partia ...
... beginning and the end of the piece, the “diapason” includes harmonics from the 48th through 64th (thus defining an interval of a perfect fourth), whereas at the dynamic climax of the piece (at about two-thirds to three-quarters of the way through) it includes the first through the seventeenth partia ...
LucyTuning*LucyScaleDevelopments*LucyTuned Lullabies*Pi
... FAQ's (Frequently Asked Questions) about LucyTuning Q. What's the point of converting to LucyTuning? A. To provide a tuning system which is more precise than conventional Western tuning (12 note equal temperament [12tET]), and matches the musical harmonics. This allows musicians greater versatility ...
... FAQ's (Frequently Asked Questions) about LucyTuning Q. What's the point of converting to LucyTuning? A. To provide a tuning system which is more precise than conventional Western tuning (12 note equal temperament [12tET]), and matches the musical harmonics. This allows musicians greater versatility ...
a PDF version of this work.
... components of the Romantic era that are incorporated into Chopin’s work. Chopin used a variety of traditional compositional materials in a non-traditional manner. In order to draw these conclusions, the analyst is required to scan the music horizontally instead of vertically. Traditional Roman numer ...
... components of the Romantic era that are incorporated into Chopin’s work. Chopin used a variety of traditional compositional materials in a non-traditional manner. In order to draw these conclusions, the analyst is required to scan the music horizontally instead of vertically. Traditional Roman numer ...
Experiencing Music - Petal School District
... Casual listening – when music blends in with the background, considered “elevator music” Sensuous listening – when the listener becomes completely absorbed in the music, considered “goose bump” music. Perceptive listening – listening to and appreciating music for its full range of technical an ...
... Casual listening – when music blends in with the background, considered “elevator music” Sensuous listening – when the listener becomes completely absorbed in the music, considered “goose bump” music. Perceptive listening – listening to and appreciating music for its full range of technical an ...
Stage 1: Desired Results Stage 2 : Assessment Evidence Stage 3
... Compose music in several distinct styles, demonstrating creativity in using the elements of music for expressive effect Arrange simple pieces for acoustic or electronic instruments Use computer and electronic te ...
... Compose music in several distinct styles, demonstrating creativity in using the elements of music for expressive effect Arrange simple pieces for acoustic or electronic instruments Use computer and electronic te ...
Sample Grade 4 Theory Paper
... 7.4 How does the articulation in this piece affect the beats in the bar that are usually strong? ...
... 7.4 How does the articulation in this piece affect the beats in the bar that are usually strong? ...
Harmonic Progression - LearnMusicTheory.net
... A harmonic progression is a goal-directed succession of chords. Composers from the 1600s through the 1800s favored certain strong harmonic progressions. The strongest of all progressions involves the root of the chord moving down a fifth (or up a fourth), especially dominant (V) to tonic (I or i). ...
... A harmonic progression is a goal-directed succession of chords. Composers from the 1600s through the 1800s favored certain strong harmonic progressions. The strongest of all progressions involves the root of the chord moving down a fifth (or up a fourth), especially dominant (V) to tonic (I or i). ...
Baroque-Era Algorithmic Composition Kevin Deisz 1st Step – Keys
... Cadence points are points in the music that the motion can momentarily cease to give a sense of resolution Currently, for simplicity, music is divided into four-bar phrases ...
... Cadence points are points in the music that the motion can momentarily cease to give a sense of resolution Currently, for simplicity, music is divided into four-bar phrases ...
Inversions
... useful rule applying to all intervals (that is those of one octave or less). The number of any interval and the number of its inversion always add up to nine. Thus a fifth (number 5) and its inverse or complement, a fourth (number is 4) add up to 9. Do not forget that chord quality is still a factor ...
... useful rule applying to all intervals (that is those of one octave or less). The number of any interval and the number of its inversion always add up to nine. Thus a fifth (number 5) and its inverse or complement, a fourth (number is 4) add up to 9. Do not forget that chord quality is still a factor ...
Vocal Music Intermediate Baseline Assessment Section One
... 2. An alternative way of identifying a time signature where there are 4 beats in a measure and the quarter note receives the beat is _____. a. common time b. cut time c. triple time 3. _____: A muscular portion located in the back of the roof of the mouth that separates the oral cavity from the nasa ...
... 2. An alternative way of identifying a time signature where there are 4 beats in a measure and the quarter note receives the beat is _____. a. common time b. cut time c. triple time 3. _____: A muscular portion located in the back of the roof of the mouth that separates the oral cavity from the nasa ...
Blank UbD Planning Template
... NS2. Performing on instruments, alone and with others, a varied repertoire of music. NS3. Improvising melodies, variations, and accompaniments. NS5. Reading and notating music. NS6. Listening to, analyzing, and describing music. NS7. Evaluating music and music performances. NS9. Understanding music ...
... NS2. Performing on instruments, alone and with others, a varied repertoire of music. NS3. Improvising melodies, variations, and accompaniments. NS5. Reading and notating music. NS6. Listening to, analyzing, and describing music. NS7. Evaluating music and music performances. NS9. Understanding music ...
Four-Part Harmony
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point down. This helps to make it clear which notes to follow when two parts share a staff. Each voice or part contributes to a note in the chord, with one note in the chord doubled (since most chords only need three ...
Year-9-Music
... o A score is part of the ‘soundtrack’, o The rest of the soundtrack is made from non-original music found in the film – like songs by the pop stars you know. o The film score makes use of leitmotifs throughout o A LEITMOTIF is a short piece of music used to describe a character, in this case, James ...
... o A score is part of the ‘soundtrack’, o The rest of the soundtrack is made from non-original music found in the film – like songs by the pop stars you know. o The film score makes use of leitmotifs throughout o A LEITMOTIF is a short piece of music used to describe a character, in this case, James ...
The Elements of Music
... the vibration, the higher the pitch, the slower the vibration, the lower the pitch Each definite pitch is called a tone and has a specific frequency The distance in pitch between 2 notes is called an interval Question: How can you change the speed of vibration on an instrument? ...
... the vibration, the higher the pitch, the slower the vibration, the lower the pitch Each definite pitch is called a tone and has a specific frequency The distance in pitch between 2 notes is called an interval Question: How can you change the speed of vibration on an instrument? ...
The Musical Intervals Tutor
... If you would like to test your skill at identifying intervals, click Take Test 1 (beginner), or Take Test 2 (more advanced). ...
... If you would like to test your skill at identifying intervals, click Take Test 1 (beginner), or Take Test 2 (more advanced). ...
image by Hans-Christoph Steiner based on Grey, JM 1979, JASA
... The time envelope in terms of rise, duration, and decay. The changes both of spectral envelope (formant-glide) and fundamental frequency (micro-intonation). 5. The prefix, an onset of a sound quite dissimilar to the ...
... The time envelope in terms of rise, duration, and decay. The changes both of spectral envelope (formant-glide) and fundamental frequency (micro-intonation). 5. The prefix, an onset of a sound quite dissimilar to the ...
Ben Johnston Pantonality Generalized
... magically, a deep soft bass-tone rises from imperceptibility hand-in-hand with increasing smoothness, as two points resolve while in the background their interaction produces shadows, combination tones creating a multiplicity of tonal impressions. This flow of sensations is the continuum which forms ...
... magically, a deep soft bass-tone rises from imperceptibility hand-in-hand with increasing smoothness, as two points resolve while in the background their interaction produces shadows, combination tones creating a multiplicity of tonal impressions. This flow of sensations is the continuum which forms ...
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.