Carl Nielsen Studies V - Svend Hvidtfelt Nielsen
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
Level 4 Workbook
... 1. With 16th notes, the beat is divided into ____ parts. 2. Name the tonic note in the key of A major. _____ 3. Name the dominant note in the key of D major. _____ 4. Name the subdominant note in the key of G major. _____ 5. Common time (C) is another way to write ___________. 6. The relative minor ...
... 1. With 16th notes, the beat is divided into ____ parts. 2. Name the tonic note in the key of A major. _____ 3. Name the dominant note in the key of D major. _____ 4. Name the subdominant note in the key of G major. _____ 5. Common time (C) is another way to write ___________. 6. The relative minor ...
PDF text - Music Theory Online
... A to G . (That G ultimately appears in the music the end of measure 2: see Example 4a.) In either interpretation, both chords fulfill the same role of expanding the plagal harmonies through an intermediate F-minor harmony. [16] Measures 3–4 form a tonic resolution (with added sixth) to the plagal ex ...
... A to G . (That G ultimately appears in the music the end of measure 2: see Example 4a.) In either interpretation, both chords fulfill the same role of expanding the plagal harmonies through an intermediate F-minor harmony. [16] Measures 3–4 form a tonic resolution (with added sixth) to the plagal ex ...
The Bohlen-Pierce Clarinet An Introduction to Acoustics and Playing
... octave as the frame interval, and, as we will see, interval steps are larger than in the octavebased 12-tone scale. Consequently, chord structures are acoustically different from the ones that can be found in the octave-based 12-tone system. For example, in the 12-tone system the notes of a major ch ...
... octave as the frame interval, and, as we will see, interval steps are larger than in the octavebased 12-tone scale. Consequently, chord structures are acoustically different from the ones that can be found in the octave-based 12-tone system. For example, in the 12-tone system the notes of a major ch ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
What is Tonality - California State University, Los Angeles
... principle. The diatonic scales themselves are reorderings of seven-note segments of the cycle of fifths,2 and the triads are derived by filling in those fifths with intervening scale tones. Moreover, the tonalities (C major, G major, etc.) are defined by functional relations among their constituent ...
... principle. The diatonic scales themselves are reorderings of seven-note segments of the cycle of fifths,2 and the triads are derived by filling in those fifths with intervening scale tones. Moreover, the tonalities (C major, G major, etc.) are defined by functional relations among their constituent ...
Modern harmony, its explanation and application - DMU
... swift current of modern musical art during the last ten or fifteen years seems at first glance to have ruthlessly swept away the whole of the theories of the past. The earnest student may well be excused if he is bewildered completely on rising up fresh from his theoretical treatises to plunge into ...
... swift current of modern musical art during the last ten or fifteen years seems at first glance to have ruthlessly swept away the whole of the theories of the past. The earnest student may well be excused if he is bewildered completely on rising up fresh from his theoretical treatises to plunge into ...
How Music Works
... Interval size is measured in terms of a unit called a cent. One cent is equal to 1/1200th of an octave. In other words, 100 cents makes one equally-tempered minor second. An equaltempered perfect fifth is thus 700 cents. Tuning systems can be easily compared by looking at the number of cents in each ...
... Interval size is measured in terms of a unit called a cent. One cent is equal to 1/1200th of an octave. In other words, 100 cents makes one equally-tempered minor second. An equaltempered perfect fifth is thus 700 cents. Tuning systems can be easily compared by looking at the number of cents in each ...
The Octatonic Scale Description, History, Application
... o The first mode, in C, is C Db Eb E F# G A Bb C o The second mode, in C, is C D Eb F Gb Ab A B C Both modes can be thought of as two interleaved diminished seventh chords Mode 1 (the most commonly used version in classical composition) enables the simultaneous use of both the major and minor third, ...
... o The first mode, in C, is C Db Eb E F# G A Bb C o The second mode, in C, is C D Eb F Gb Ab A B C Both modes can be thought of as two interleaved diminished seventh chords Mode 1 (the most commonly used version in classical composition) enables the simultaneous use of both the major and minor third, ...
Stephanie Reusch Paper 2 Composers use several types of non
... The texture during S of the exposition changes drastically. A simple bass line of eighth notes and quarter notes all containing chord tones dictate the harmony, but Mozart creates an incredibly busy texture in the right hand by writing a constant stream of 16th notes filled with just as many non-ch ...
... The texture during S of the exposition changes drastically. A simple bass line of eighth notes and quarter notes all containing chord tones dictate the harmony, but Mozart creates an incredibly busy texture in the right hand by writing a constant stream of 16th notes filled with just as many non-ch ...
Lesson_CCC_-_The_Min..
... same V and vii° triads in minor as we do in the parallel major. The leading-tone adjustment not only strengthens the sense of tonality in a minor key, but also allows for modulation from a major key to its parallel minor, and vice versa, as we will see in later sections. Popup box: As you may have n ...
... same V and vii° triads in minor as we do in the parallel major. The leading-tone adjustment not only strengthens the sense of tonality in a minor key, but also allows for modulation from a major key to its parallel minor, and vice versa, as we will see in later sections. Popup box: As you may have n ...
Cyclic Organization in the `Chorale` of Charles Ives` Three Quarter
... authority, being "unrelenting masters in the realm of the physical nature of sound." (112). For this reason he prefers chords that still have pure fifths, rather than fifths either a quarter sharp or a quarter flat;3 though, as will be shown, he does use these intervals. Yet, naturally, chords shoul ...
... authority, being "unrelenting masters in the realm of the physical nature of sound." (112). For this reason he prefers chords that still have pure fifths, rather than fifths either a quarter sharp or a quarter flat;3 though, as will be shown, he does use these intervals. Yet, naturally, chords shoul ...
A major triad (C or CM) uses the first (root), 3rd, and 5th of a major
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
Timbre, Harmony, Orchestration, and Analysis, and Rautavaara`s
... As I mentioned before, staff notation represents timbre directly in only a single dimension: lyrics. And this is appropriate—after all, language is fundamentally timbral in nature. When we hear language, we hear timbrally, synthetically: individual phonetic elements are combined into linguistically ...
... As I mentioned before, staff notation represents timbre directly in only a single dimension: lyrics. And this is appropriate—after all, language is fundamentally timbral in nature. When we hear language, we hear timbrally, synthetically: individual phonetic elements are combined into linguistically ...
Appendix I: Microtonality in 20 Century Western Art Music: A
... Willi Möllendorff [1872-1934] and the instrument inventor Jörg Mager [1880-1939]). Hába had written his first major quarter-tone composition in Vienna in 1920, i.e. his String Quartet No.2 op.7 in which the quarter-tones are used as part of a highly chromatic lateromantic tonal pitch language (the p ...
... Willi Möllendorff [1872-1934] and the instrument inventor Jörg Mager [1880-1939]). Hába had written his first major quarter-tone composition in Vienna in 1920, i.e. his String Quartet No.2 op.7 in which the quarter-tones are used as part of a highly chromatic lateromantic tonal pitch language (the p ...
Dynamic Tonality - William A. Sethares
... C major pentatonic scale is played as “C D E G A” all along the tuning continuum. Whether the current tuning has 5 notes per octave, 12 notes per octave, or even 31 notes per octave, the shape of any given musical structure is invariant on the Wicki note-layout. From the performer’s perspective, the ...
... C major pentatonic scale is played as “C D E G A” all along the tuning continuum. Whether the current tuning has 5 notes per octave, 12 notes per octave, or even 31 notes per octave, the shape of any given musical structure is invariant on the Wicki note-layout. From the performer’s perspective, the ...
Scales in Music
... At this point it might be helpful to consider another well-known logarithmic scale that is occasionally useful. We can measure size (say, height) relative to a fixed unit (say meters or miles); this produces an arithmetic scale with an associated scale and a natural zero. Such scales are useful in c ...
... At this point it might be helpful to consider another well-known logarithmic scale that is occasionally useful. We can measure size (say, height) relative to a fixed unit (say meters or miles); this produces an arithmetic scale with an associated scale and a natural zero. Such scales are useful in c ...
Lesson_CCC_-_The_Min..
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discu ...
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discu ...
Lesson EEE: The Dominant Seventh Chord
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discu ...
... of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do their leading-tone adjusted forms, although both appear in other functional roles in a minor key (discu ...
Harmony as a Strategy for Beneficial Change by Richard A. Schultz
... a string quartet, a choir of male voices, a choir of female voices, a marching band, a symphony orchestra, an electronic synthesizer, and a brass ensemble. In each of these cases, the chord played is the same, even though the voices that have combined to create the chord are very different. The harm ...
... a string quartet, a choir of male voices, a choir of female voices, a marching band, a symphony orchestra, an electronic synthesizer, and a brass ensemble. In each of these cases, the chord played is the same, even though the voices that have combined to create the chord are very different. The harm ...
RESEARCH ARTICLE Metrics for Scales and Tunings
... Another strategy used in musical set theory and neo-Reimannian approaches, effectively counts the number of intervals in 12edo that is contained in each tuning or chord [3]. These interval vectors can then be treated fruitfully as elements of R6 (R6 can be used in place of R12 due to the symmetry of ...
... Another strategy used in musical set theory and neo-Reimannian approaches, effectively counts the number of intervals in 12edo that is contained in each tuning or chord [3]. These interval vectors can then be treated fruitfully as elements of R6 (R6 can be used in place of R12 due to the symmetry of ...
FREE Sample Here - We can offer most test bank and
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
FREE Sample Here
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
PDF - UNT Digital Library
... Hindemith8 insists that the conventional theory of harmony is far too limited in its system for the determination and interpretation of chords. ...
... Hindemith8 insists that the conventional theory of harmony is far too limited in its system for the determination and interpretation of chords. ...
melody - Test Bank 1
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
... familiar, however, with the basic concept of consonance and dissonance. Emphasize that perceptions have changed over time and that many cultures have unique ideas of what sounds pleasing or harsh. Some students confuse consonance and dissonance with good and bad sounds. They need to realize that dis ...
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.