Lesson_CCC_-_The_Min..
... sense of resolution. The same would be true of a progression using VII instead of vii°. Because the major scale already already has a leading tone, these issues do not come up in major keys. By making these alterations to the minor scale, we are compensating for its structural shortcomings by borrow ...
... sense of resolution. The same would be true of a progression using VII instead of vii°. Because the major scale already already has a leading tone, these issues do not come up in major keys. By making these alterations to the minor scale, we are compensating for its structural shortcomings by borrow ...
file here.
... (3:2)4 give us the next ascending perfect fifth (in our example, from “A” up to “E”), which works out to 81:16. But to find this pitch within our original “C” to “C” octave we must reduce it. When we reduced (3:2)2 to find our major second we reduced it by one octave, or 2:1. But here we must bring ...
... (3:2)4 give us the next ascending perfect fifth (in our example, from “A” up to “E”), which works out to 81:16. But to find this pitch within our original “C” to “C” octave we must reduce it. When we reduced (3:2)2 to find our major second we reduced it by one octave, or 2:1. But here we must bring ...
Tuning Systems
... Almost all music traditions recognize the octave18 . When note Y has a frequency19 that is twice the frequency of note Z, then note Y is one octave higher than note Z. A simple mathematical way to say this is that the ratio20 of the frequencies is 2:1. Two notes that are exactly one octave apart sou ...
... Almost all music traditions recognize the octave18 . When note Y has a frequency19 that is twice the frequency of note Z, then note Y is one octave higher than note Z. A simple mathematical way to say this is that the ratio20 of the frequencies is 2:1. Two notes that are exactly one octave apart sou ...
Evolution and Structure in Flamenco Harmony
... direct connection with idiosyncratic characteristics of the guitar. The first of these theses, although difficult to document, is hardly original, and indeed, is widely taken for granted among flamenco scholars. Before proceeding directly to these arguments, some introduction to flamenco harmony and ...
... direct connection with idiosyncratic characteristics of the guitar. The first of these theses, although difficult to document, is hardly original, and indeed, is widely taken for granted among flamenco scholars. Before proceeding directly to these arguments, some introduction to flamenco harmony and ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
... As a result of the second step in this process, some sort of linear pitch order is the fundamental musical construct from which a tonality is generated. Fétis refers specifically in the Traité to this structure as a scale, and in the Histoire, one finds that he deals with the scale structures of oth ...
... As a result of the second step in this process, some sort of linear pitch order is the fundamental musical construct from which a tonality is generated. Fétis refers specifically in the Traité to this structure as a scale, and in the Histoire, one finds that he deals with the scale structures of oth ...
EKU Music Theory Study Guide with PAGE NUMBERS
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
Music Theory And Composition - Eastern Kentucky University
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
EKU Music Theory Study Guide - Music Theory And Composition
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
Hybrid Thinking in Meloharmony
... for the aftermath of serialism and a post-Adorno way of thinking. With regard to harmonicity, we have composers like Julián Carrillo, Ivan Wyschnegradsky, Harry Partch, or Gérard Grisey, who showed us new paths. Regarding pulsation, we have the minimalism of Steve Reich or the polymetric music of Co ...
... for the aftermath of serialism and a post-Adorno way of thinking. With regard to harmonicity, we have composers like Julián Carrillo, Ivan Wyschnegradsky, Harry Partch, or Gérard Grisey, who showed us new paths. Regarding pulsation, we have the minimalism of Steve Reich or the polymetric music of Co ...
Outlining the prime
... Outlining the prime-octave polarity Intervals have two ways of expressing themselves. One way is to be experienced by an individual voice in moving from one pitch to another. The other is when two voices are sounding simultaneously. A prime is experienced when we have the meeting of two instruments ...
... Outlining the prime-octave polarity Intervals have two ways of expressing themselves. One way is to be experienced by an individual voice in moving from one pitch to another. The other is when two voices are sounding simultaneously. A prime is experienced when we have the meeting of two instruments ...
Major and minor music compared to excited and subdued speech
... To assess the tonal differences between the major and minor melodies, the chromatic intervals represented by each melody note were determined 共1兲 with respect to the annotated tonic of the melody and 共2兲 with respect to the immediately following melody note. Chromatic intervals based on the tonic 共r ...
... To assess the tonal differences between the major and minor melodies, the chromatic intervals represented by each melody note were determined 共1兲 with respect to the annotated tonic of the melody and 共2兲 with respect to the immediately following melody note. Chromatic intervals based on the tonic 共r ...
Semantic manual - Semantic Daniélou
... Summed up here are some of this system's characteristics, as well as some basic microtonal notions : Just intonation is altogether the science and the art of consonances. Instead of tempered intervals, it uses a diversity of consonant intervals, the frequency ratios of which can be expressed in the ...
... Summed up here are some of this system's characteristics, as well as some basic microtonal notions : Just intonation is altogether the science and the art of consonances. Instead of tempered intervals, it uses a diversity of consonant intervals, the frequency ratios of which can be expressed in the ...
to read it in Microsoft Word
... Some intervals are more dissonant than others. I try to generally stay away from minor 9th intervals. Outside of a duo situation, I utilize only the B, G, D, and high E strings in order to keep out of the way of most soloing instruments. Notes on the high E string must be played judiciously to avoid ...
... Some intervals are more dissonant than others. I try to generally stay away from minor 9th intervals. Outside of a duo situation, I utilize only the B, G, D, and high E strings in order to keep out of the way of most soloing instruments. Notes on the high E string must be played judiciously to avoid ...
accompanying Powerpoint presentation
... reached in Sun Treader, the Evocations, and Organum. It is, in each case, almost 9, which means that at every moment in the process of composing these melodic lines there were only four pitch-classes remaining to chose from for the next tone — and not even all of these four would necessarily satisfy ...
... reached in Sun Treader, the Evocations, and Organum. It is, in each case, almost 9, which means that at every moment in the process of composing these melodic lines there were only four pitch-classes remaining to chose from for the next tone — and not even all of these four would necessarily satisfy ...
Music Theory ==> Basic Level
... The first note of a scale is called the tonic, and gives its name to the scale - so this is a C scale. If the first 3rd of the scale (with respect to the tonic) is a major third (3), the scale will be "major"; if it is a minor third (m3), the scale will correspondingly be "minor". So the scale above ...
... The first note of a scale is called the tonic, and gives its name to the scale - so this is a C scale. If the first 3rd of the scale (with respect to the tonic) is a major third (3), the scale will be "major"; if it is a minor third (m3), the scale will correspondingly be "minor". So the scale above ...
Three Conceptions of Musical Distance
... discrete lattices that represent voice-leading relationships among familiar diatonic or chromatic chords. For example, Figure 4 records the most efficient voice leadings among diatonic fifths—which can be represented using an irregular, one-dimensional zig-zag near the center of the Möbius strip T2/ ...
... discrete lattices that represent voice-leading relationships among familiar diatonic or chromatic chords. For example, Figure 4 records the most efficient voice leadings among diatonic fifths—which can be represented using an irregular, one-dimensional zig-zag near the center of the Möbius strip T2/ ...
Musical Scales - Rick Bradford Home Page
... lying respectively mid-way between C-sharp and D and mid-way between A-sharp and B. Memo: Find some way of trying this scale out. Can t be done on an instrument (unless, say, two guitars were used, with one tuned down to provide the two new notes - but I don t know how I d tune-in the new notes to t ...
... lying respectively mid-way between C-sharp and D and mid-way between A-sharp and B. Memo: Find some way of trying this scale out. Can t be done on an instrument (unless, say, two guitars were used, with one tuned down to provide the two new notes - but I don t know how I d tune-in the new notes to t ...
Pythagorean tuning
... 77 keys). Since notes differing in frequency by a factor of 2 are given the same name, it is customary to divide or multiply the frequencies of some of these notes by 2 or by a power of 2. The purpose of this adjustment is to move the 12 notes within a smaller range of frequency, namely within the in ...
... 77 keys). Since notes differing in frequency by a factor of 2 are given the same name, it is customary to divide or multiply the frequencies of some of these notes by 2 or by a power of 2. The purpose of this adjustment is to move the 12 notes within a smaller range of frequency, namely within the in ...
Introduction to the CAGED System,Part One
... long ago as “Do, Re, Mi, Fa, Sol, La,” and “Ti.” You may have also heard the Major Scale described as having eight notes, but the eighth should actually be considered as the first note in a repetition of the scale, one octave higher. The A major scale in the exercise begins at the 5th fret of the si ...
... long ago as “Do, Re, Mi, Fa, Sol, La,” and “Ti.” You may have also heard the Major Scale described as having eight notes, but the eighth should actually be considered as the first note in a repetition of the scale, one octave higher. The A major scale in the exercise begins at the 5th fret of the si ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... Interior goals might be reached at a fairly regular rate (e.g. 4 measures phrase) Cadence: harmonic goal Some cadences sound more or less conclusive, or final, whereas others leave us off balance, feeling a need for the music to continue Easier to do than it is to explain, listen for a “goal ...
... Interior goals might be reached at a fairly regular rate (e.g. 4 measures phrase) Cadence: harmonic goal Some cadences sound more or less conclusive, or final, whereas others leave us off balance, feeling a need for the music to continue Easier to do than it is to explain, listen for a “goal ...
Music Theory Review Guide - Guitar
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
... Melodic minor scale—a natural minor scale with the sixth and seventh scale degrees raised one half step in the ascending part of the scale, and a return (or re-lowering of the sixth and seventh scale degrees one half step) of the natural minor scale in the descending part of the scale. ...
Music Theory Unplugged Functional Harmony
... Functional harmony relates to the way in which chords interact and we have three categories that all of the chords in a tonal series fall into. We have already introduced terms such as tonic and dominant. These are two of the three functional categories of harmony. The third category is sub-dominant ...
... Functional harmony relates to the way in which chords interact and we have three categories that all of the chords in a tonal series fall into. We have already introduced terms such as tonic and dominant. These are two of the three functional categories of harmony. The third category is sub-dominant ...
rudiments of music
... What are Time-signatures, and what do they show? What does the upper figure of a Time-signature tell ? What does the lower figure of a Time-signature tell ? Name the upper figure used in (a) Duple Time; in (b) Triple Time; and in (c) Quadruple Time. Name the kind of note of which the lower figure is ...
... What are Time-signatures, and what do they show? What does the upper figure of a Time-signature tell ? What does the lower figure of a Time-signature tell ? Name the upper figure used in (a) Duple Time; in (b) Triple Time; and in (c) Quadruple Time. Name the kind of note of which the lower figure is ...
Chapter_Twenty Seven_Outline
... D. “Emancipation of Dissonance” 1. Schoenberg’s mental state influenced his music, as the episode involving marital strife (and the suicide of his wife’s lover) in 1906–07 reveals. 2. Schoenberg was a painter as well as a composer, and both idioms reveal his turbulent emotional state at this time. ...
... D. “Emancipation of Dissonance” 1. Schoenberg’s mental state influenced his music, as the episode involving marital strife (and the suicide of his wife’s lover) in 1906–07 reveals. 2. Schoenberg was a painter as well as a composer, and both idioms reveal his turbulent emotional state at this time. ...
The Establishment of Equal Temperament
... Pythagoras’s tuning system was used well into the fifteenth century. It was not until the Renaissance period that it first began to bear scrutiny. Thirds became a new defining harmonic characteristic of this period. Under Pythagoras’s method, the major third had a ratio of 81:64, resulting in what i ...
... Pythagoras’s tuning system was used well into the fifteenth century. It was not until the Renaissance period that it first began to bear scrutiny. Thirds became a new defining harmonic characteristic of this period. Under Pythagoras’s method, the major third had a ratio of 81:64, resulting in what i ...
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.