Higher Music Literacy Unit 4 – Intervals
... To calculate the size of an interval whether visually or aurally, treat the lower note a ‘1’ and go up by step until the upper note is reached. ...
... To calculate the size of an interval whether visually or aurally, treat the lower note a ‘1’ and go up by step until the upper note is reached. ...
Music 170 Homework problem set 6 (due Nov. 3) 1. Two pipes, both
... 2. Three alpenhorns are tuned so that the second one is a perfect fifth above the first, and the third one is a perfect fifth above the second one. If the first one sounds at 100 Hz, at what frequency does the third, highest, one sound? 3. The harmonic overtone series (the ratios 1:2:3:...) defines ...
... 2. Three alpenhorns are tuned so that the second one is a perfect fifth above the first, and the third one is a perfect fifth above the second one. If the first one sounds at 100 Hz, at what frequency does the third, highest, one sound? 3. The harmonic overtone series (the ratios 1:2:3:...) defines ...
Lecture 5
... When two or more melodies are played, sung, or sounding simultaneously. Another term associated with this is called polyphonic. This style of music makes for a more interesting listening experience, with greater depth of chord structures and plays more into dissonance listening. Yet we have gr ...
... When two or more melodies are played, sung, or sounding simultaneously. Another term associated with this is called polyphonic. This style of music makes for a more interesting listening experience, with greater depth of chord structures and plays more into dissonance listening. Yet we have gr ...
Glossary of Terms
... Pentatonic scale: scales containing five pitches per octave Chromatic scale: a scale containing all twelve possible pitches within the octave Whole tone scale: divides the octave into six consecutive whole steps Sharp: to raise a pitch a half step Flat: to lower a pitch a half step Staff: five lines ...
... Pentatonic scale: scales containing five pitches per octave Chromatic scale: a scale containing all twelve possible pitches within the octave Whole tone scale: divides the octave into six consecutive whole steps Sharp: to raise a pitch a half step Flat: to lower a pitch a half step Staff: five lines ...
L 8-‐9 Musical Scales, Chords , and Intervals, The Pythagorean and
... To fill out the Pythagorean scale, we need F. If we take 2C to be the 5th above F, then 2C= 3/2F, or F = 4/3 C ...
... To fill out the Pythagorean scale, we need F. If we take 2C to be the 5th above F, then 2C= 3/2F, or F = 4/3 C ...
CH. 20 Musical Sounds - Stephen F. Austin State University
... Scale: A succession of notes of frequencies that are in simple ratios to one another. •Octave: The eighth full tone (or 12th successive note in a scale) above or below a given tone. ...
... Scale: A succession of notes of frequencies that are in simple ratios to one another. •Octave: The eighth full tone (or 12th successive note in a scale) above or below a given tone. ...
1 - Julianne Baird
... 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody that serves as the starting point f ...
... 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody that serves as the starting point f ...
1 - Julianne Baird
... 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody that serves as the starting point f ...
... 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody that serves as the starting point f ...
your name - Julianne Baird
... 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody that serves as the starting point f ...
... 12.___________ is defined as putting an accent into music where it would not normally be expected. a. meter b. syncopation c. expiation d. pizzicato 13. A theme is: a. the emotional focal point of a melody b. The resting place at the end of a phrase c . the melody that serves as the starting point f ...
level 11 - Hlubek Piano Studio
... Root position triads (chords) including Tonic (I), Subdominant (IV), and Dominant (V or V7) of all Major keys Root position triads (chords) including tonic (i), subdominant (iv), and Dominant (V or V7) of all harmonic minor keys up to and including 5 sharps and 5 flats Progression for cadences: auth ...
... Root position triads (chords) including Tonic (I), Subdominant (IV), and Dominant (V or V7) of all Major keys Root position triads (chords) including tonic (i), subdominant (iv), and Dominant (V or V7) of all harmonic minor keys up to and including 5 sharps and 5 flats Progression for cadences: auth ...
PPT only
... Timbre and Complexity Harmonics Notes at specific intervals that resonate above a fundamental Vary in loudness Onset, offset time ...
... Timbre and Complexity Harmonics Notes at specific intervals that resonate above a fundamental Vary in loudness Onset, offset time ...
`frequency`. - Programma LLP
... and dissonance, and Maths surely helps with it. Ever wonder why some note combinations sound pleasing to our ears, while others make us cringe? To understand the answer to this question, you’ll first need to understand the wave patterns created by a musical instrument. When you pluck a string on a g ...
... and dissonance, and Maths surely helps with it. Ever wonder why some note combinations sound pleasing to our ears, while others make us cringe? To understand the answer to this question, you’ll first need to understand the wave patterns created by a musical instrument. When you pluck a string on a g ...
20th Cent Definitions
... aspect of a piece: note values, dynamics, formal components, etc. The series of tones (a pattern of whole and half steps) that form a key, with the highest and lowest notes being the same (the tonic/key note) A phrase repeated at a higher or lower pitch Associated with the Classical era: an extensiv ...
... aspect of a piece: note values, dynamics, formal components, etc. The series of tones (a pattern of whole and half steps) that form a key, with the highest and lowest notes being the same (the tonic/key note) A phrase repeated at a higher or lower pitch Associated with the Classical era: an extensiv ...
Perception of musical consonance and dissonance: an outcome of
... While a number of theories have been advanced to account for why musical consonance is related to simple frequency ratios, as yet there is no completely satisfying explanation. Here we explore the theory of synchronization properties of ensembles of coupled neural oscillators to demonstrate why simp ...
... While a number of theories have been advanced to account for why musical consonance is related to simple frequency ratios, as yet there is no completely satisfying explanation. Here we explore the theory of synchronization properties of ensembles of coupled neural oscillators to demonstrate why simp ...
Musical Terms - Rogers State University
... • System of organizing pitches • Give cohesion to a piece of music • Just a few are the major, minor, modal, and pentatonic scales. • In non-Western cultures, scales, patterns or even certain notes may associated with extra musical ideas from nature or religion. ...
... • System of organizing pitches • Give cohesion to a piece of music • Just a few are the major, minor, modal, and pentatonic scales. • In non-Western cultures, scales, patterns or even certain notes may associated with extra musical ideas from nature or religion. ...
Sample History Placement Exam 2013
... be heard clearly, but not so as to offend the ear,” then why not prepare them in the conventional way, as reason dictates? Now, even if you want dissonances to become consonances, they will always remain the opposite of consonant…. We have reached the point of absurdity, but it is altogether possibl ...
... be heard clearly, but not so as to offend the ear,” then why not prepare them in the conventional way, as reason dictates? Now, even if you want dissonances to become consonances, they will always remain the opposite of consonant…. We have reached the point of absurdity, but it is altogether possibl ...
Elements of Music Overview
... “Patterns and Combinations of musical sounds or silences of differing durations…” ...
... “Patterns and Combinations of musical sounds or silences of differing durations…” ...
Perception of musical consonance and dissonance: an outcome of
... In Western culture, the intervals are often listed in the decreasing order of ‘perfection’ shown in table 1. Preference for musical intervals of simple frequency ratios such as the octave, fifth and fourth, might simply reflect education or immersion and exposure to Western musical practices. Cross-cu ...
... In Western culture, the intervals are often listed in the decreasing order of ‘perfection’ shown in table 1. Preference for musical intervals of simple frequency ratios such as the octave, fifth and fourth, might simply reflect education or immersion and exposure to Western musical practices. Cross-cu ...
Perception of musical consonance and dissonance
... In Western culture, the intervals are often listed in the decreasing order of ‘perfection’ shown in table 1. Preference for musical intervals of simple frequency ratios such as the octave, fifth and fourth, might simply reflect education or immersion and exposure to Western musical practices. Cross-cu ...
... In Western culture, the intervals are often listed in the decreasing order of ‘perfection’ shown in table 1. Preference for musical intervals of simple frequency ratios such as the octave, fifth and fourth, might simply reflect education or immersion and exposure to Western musical practices. Cross-cu ...
Defintions - WordPress.com
... Forte- loud Fortissimo- very loud Form- organizton of musical ideas in time FanfareHalf Note- quick note Harmony- how chords are constructed and follew Home Key- both the beginning and end note of a piece Homophonic- main melody is accompanied by chords Indefinite PitchIdiomaticKey Signature- sharp ...
... Forte- loud Fortissimo- very loud Form- organizton of musical ideas in time FanfareHalf Note- quick note Harmony- how chords are constructed and follew Home Key- both the beginning and end note of a piece Homophonic- main melody is accompanied by chords Indefinite PitchIdiomaticKey Signature- sharp ...
Harvard
... music is generally defined as any music that is not 12TET. Some folks base their music on the harmonic series, some divide the octave into 19 or 31 equal parts, some divide the octave into 43 unequal parts, some don't divide the octave at all.... There are an infinite number of ways to choose your t ...
... music is generally defined as any music that is not 12TET. Some folks base their music on the harmonic series, some divide the octave into 19 or 31 equal parts, some divide the octave into 43 unequal parts, some don't divide the octave at all.... There are an infinite number of ways to choose your t ...
Intervals
... P5 + P4 = P8; the total number of half steps they contain is 12. If the classes of two intervals add up to 9 (or an octave) they are inversions of each other The inversion of a perfect interval is a perfect interval The inversion of a major interval is a minor interval, and vice versa The ...
... P5 + P4 = P8; the total number of half steps they contain is 12. If the classes of two intervals add up to 9 (or an octave) they are inversions of each other The inversion of a perfect interval is a perfect interval The inversion of a major interval is a minor interval, and vice versa The ...
Use of dissonance and less obvious structural devices
... bridge, symbolizing the transition of Christ out of this world.” ...
... bridge, symbolizing the transition of Christ out of this world.” ...
Power Point presentation: basics of music
... – Riff = motive with a distinct rhythm that repeats throughout piece ...
... – Riff = motive with a distinct rhythm that repeats throughout piece ...
Iteractive Music - University of South Carolina
... multimedia resources entitled “The Harmonic Series: A path to understanding musical intervals, scales, tuning and timbre” designed to introduce the harmonic series and related concepts to ...
... multimedia resources entitled “The Harmonic Series: A path to understanding musical intervals, scales, tuning and timbre” designed to introduce the harmonic series and related concepts to ...
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.