A Rule-based System for Tuning Chord Progressions
... chords but also to chord progressions, he would have found this much better tuning for the dominant seventh. More generally, he would have discovered that simple ratios, such as 1:3, serve as intermediaries to a greater number of chords and chord progressions than do their more complex counterparts, ...
... chords but also to chord progressions, he would have found this much better tuning for the dominant seventh. More generally, he would have discovered that simple ratios, such as 1:3, serve as intermediaries to a greater number of chords and chord progressions than do their more complex counterparts, ...
DCVLE - AP Central - The College Board
... 3. Overlapping or crossed voices. (See DCVLE, numbers 7 and 8.) 4. A chordal seventh approached by a descending leap. C. Award no points for voice leading between two correctly realized chords if any of the following statements is true: 1. Parallel octaves, fifths, or unisons occur (immediately succ ...
... 3. Overlapping or crossed voices. (See DCVLE, numbers 7 and 8.) 4. A chordal seventh approached by a descending leap. C. Award no points for voice leading between two correctly realized chords if any of the following statements is true: 1. Parallel octaves, fifths, or unisons occur (immediately succ ...
Funki - QuT – Exploring ChromatiCism through Composition
... Figure 1 Chromatic scale Chromatic scales are built on a set of intervals that are semi-tone apart (Figure 1). The approach to this composition is to maintain a set of chord progressions but create a melodic line that lie largely outside the associated chord scales. By creating a melody derived from ...
... Figure 1 Chromatic scale Chromatic scales are built on a set of intervals that are semi-tone apart (Figure 1). The approach to this composition is to maintain a set of chord progressions but create a melodic line that lie largely outside the associated chord scales. By creating a melody derived from ...
Grunge Music In Bloom: Musical Analysis of Nirvana`s Hit
... legitimate alternations of the same degree, being "two sides of the same coin". ...
... legitimate alternations of the same degree, being "two sides of the same coin". ...
Distinguishing Predominant and Subdominant Behavior in
... comprise TDT. However, composers may also employ predominants or nested phrase models at multiple levels. Notably, Laitz is very specific with the use of the subdominant triad. He writes: We have learned that the subdominant harmony can function in two very different ways. In its root position or fi ...
... comprise TDT. However, composers may also employ predominants or nested phrase models at multiple levels. Notably, Laitz is very specific with the use of the subdominant triad. He writes: We have learned that the subdominant harmony can function in two very different ways. In its root position or fi ...
Tonal Function in Harmonic Scales
... Melodic intervals similar in size to the major third and the minor sixth approximate simple frequency ratios (4:5×2(n-1) and 5:2(n+2), respectively), but they are also only a semitone from the prototypical p4 and p5 ratios. For this reason, these intervals are inherently ambiguous because they can b ...
... Melodic intervals similar in size to the major third and the minor sixth approximate simple frequency ratios (4:5×2(n-1) and 5:2(n+2), respectively), but they are also only a semitone from the prototypical p4 and p5 ratios. For this reason, these intervals are inherently ambiguous because they can b ...
The Tetrachord (Ancient)
... tuning the fourths and fifths for two reasons: first, it is much easier to tune an interval without beats than it is to temper an interval and guess how many beats it should contain; second, the fifths and thirds can not be completely Just at the same time, but fourths and fifths were chosen to be p ...
... tuning the fourths and fifths for two reasons: first, it is much easier to tune an interval without beats than it is to temper an interval and guess how many beats it should contain; second, the fifths and thirds can not be completely Just at the same time, but fourths and fifths were chosen to be p ...
A Mathematical and Musical Analogy in Microtonal Systems
... Microtonal music as a whole has a broad history, and these n-tone systems and their “rules” are distinct to the culture and country from which they come. It is well-known and accepted that most of the musical instruments of the western world’s orchestra are constrained to produce 12 distinct pitch c ...
... Microtonal music as a whole has a broad history, and these n-tone systems and their “rules” are distinct to the culture and country from which they come. It is well-known and accepted that most of the musical instruments of the western world’s orchestra are constrained to produce 12 distinct pitch c ...
ROMANTIC AND IMPRESSIONIST STYLE IN THE HARP
... Noëls, the melody also features much more length than do typical Classical melodies, in keeping with Romantic tendencies. As in the first movement, no contrasting B melodic element appears, giving a sense of longevity to the A melody, which surfaces for the first time in mm. 1-8. In movements 4, 5, ...
... Noëls, the melody also features much more length than do typical Classical melodies, in keeping with Romantic tendencies. As in the first movement, no contrasting B melodic element appears, giving a sense of longevity to the A melody, which surfaces for the first time in mm. 1-8. In movements 4, 5, ...
Japanese shakuhachi Honkyoku: its characteristics and
... changes in pitch, dynamics and tone-quality produced through use of meri and kari sounds. ...
... changes in pitch, dynamics and tone-quality produced through use of meri and kari sounds. ...
Scales - SmartSite
... scales, keys, intervals, triads--some of the things that go to make up musical tonality. If you already know something about this material (often called “harmony and theory”), it should take you 30 minutes or so to look over and refresh your memory. If it’s all new to you, it will probably take some ...
... scales, keys, intervals, triads--some of the things that go to make up musical tonality. If you already know something about this material (often called “harmony and theory”), it should take you 30 minutes or so to look over and refresh your memory. If it’s all new to you, it will probably take some ...
A Small Selection from among the Many Things that I Still Do Not
... these early marranos, many of them very wealthy, intermarried with the Spanish nobility and royal family. When the remaining unconverted Jews were expelled from Spain in 1492, a large number of them went to Portugal, where, however, they were all forced to convert in 1497. Although officially forbid ...
... these early marranos, many of them very wealthy, intermarried with the Spanish nobility and royal family. When the remaining unconverted Jews were expelled from Spain in 1492, a large number of them went to Portugal, where, however, they were all forced to convert in 1497. Although officially forbid ...
Tonal desires
... The first of these techniques, in which scalar collections are controlled by an underlying serial ordering, is not a strict local-level serialization of the twelve pc found in true dodecaphonic practice. Instead, it follows on more from the developments to serialist practice that occurred in the mid ...
... The first of these techniques, in which scalar collections are controlled by an underlying serial ordering, is not a strict local-level serialization of the twelve pc found in true dodecaphonic practice. Instead, it follows on more from the developments to serialist practice that occurred in the mid ...
PDF text - Music Theory Online
... related, some do correspond with familiar chromatic harmonic relationships, such as the common-tone diminished seventh that embellishes a dominant seventh harmony (e.g., C°7–C7 in F major), and the normative resolution of a French sixth to a dominant seventh (e.g., C7 5–B7 in E minor). Of particular ...
... related, some do correspond with familiar chromatic harmonic relationships, such as the common-tone diminished seventh that embellishes a dominant seventh harmony (e.g., C°7–C7 in F major), and the normative resolution of a French sixth to a dominant seventh (e.g., C7 5–B7 in E minor). Of particular ...
FUNDAMENTAL HARMONY Chromatically
... contains the chord: G$ - B$ - C - E@ - this is a French Augmented 6th chord in the new key B$ major (it has modulated to the dominant for the arrival of the second subject). Appropriate to use the French Augmented chord given the background of the symphony. ...
... contains the chord: G$ - B$ - C - E@ - this is a French Augmented 6th chord in the new key B$ major (it has modulated to the dominant for the arrival of the second subject). Appropriate to use the French Augmented chord given the background of the symphony. ...
Harmonic Techniques in Maurice Ravel`s Opera L
... “Ravel refuses the Legion of Honor, but all his music accepts it,” 3 indubitably influenced Les Six’s understanding and interpretation of Ravel’s work. Satie’s annoyance at Ravel’s popularity and distaste for Ravel’s perceived superficiality evidently influenced Les Six, as they similarly distanced ...
... “Ravel refuses the Legion of Honor, but all his music accepts it,” 3 indubitably influenced Les Six’s understanding and interpretation of Ravel’s work. Satie’s annoyance at Ravel’s popularity and distaste for Ravel’s perceived superficiality evidently influenced Les Six, as they similarly distanced ...
Comparison of Interval Size in Equal Temperament and Just Tuning
... To play intervals in Just tuning (with no beats): 1. One player (or other source of the reference note) sounds the lower note of the interval desired. Use a tuner to insure that the lower note is accurately placed in the equally tempered scale. 2. A second player uses a tuner to adjust the upper not ...
... To play intervals in Just tuning (with no beats): 1. One player (or other source of the reference note) sounds the lower note of the interval desired. Use a tuner to insure that the lower note is accurately placed in the equally tempered scale. 2. A second player uses a tuner to adjust the upper not ...
Musical Rhetoric in Three Praeludia of Dietrich Buxtehude
... Christoph Bernhard (1627-1692) was cantor for Johanneum in Hamburg from 1664-74 and co-director of the famous Collegium Musicum there with Matthias Weckmann. Later, Bernhard returned to Dresden where he had studied and worked with Schütz for many years. In the Tractatus (c. 1660), Bernhard describes ...
... Christoph Bernhard (1627-1692) was cantor for Johanneum in Hamburg from 1664-74 and co-director of the famous Collegium Musicum there with Matthias Weckmann. Later, Bernhard returned to Dresden where he had studied and worked with Schütz for many years. In the Tractatus (c. 1660), Bernhard describes ...
From Pythagoras to Johann Sebastian Bach: An
... Pythagorean third and measures approximately 22 cents. The study of temperament is founded upon the study of space between pitches, better known as intervals.2 Though the sounds of equal and mean tone temperament are most familiar, other temperaments beg attention for the explanation of how modern t ...
... Pythagorean third and measures approximately 22 cents. The study of temperament is founded upon the study of space between pitches, better known as intervals.2 Though the sounds of equal and mean tone temperament are most familiar, other temperaments beg attention for the explanation of how modern t ...
Lesson_LLL_-_Mixture..
... degrees 3, 6, and 7, so it is at these points that mixture will occur. In both major and minor keys, chords borrowed from the parallel key can intensify the drama of a musical texture. Some instances of mixture can be seen as a result of strengthening the basic interval progressions governing the vo ...
... degrees 3, 6, and 7, so it is at these points that mixture will occur. In both major and minor keys, chords borrowed from the parallel key can intensify the drama of a musical texture. Some instances of mixture can be seen as a result of strengthening the basic interval progressions governing the vo ...
BASIC MATHEMATICAL AND MUSICAL CONCEPTS Sets and
... example, if we permute the sequence 3, 5, 3, 3, 5, 3 using i = 3, we get the same sequence. Modality. We have designated the standard scale, in a given key, as a sequence of notes: in C is is the sequence C D E F G A B C. As we pointed out, the last note is redundant, since we are using octave equiv ...
... example, if we permute the sequence 3, 5, 3, 3, 5, 3 using i = 3, we get the same sequence. Modality. We have designated the standard scale, in a given key, as a sequence of notes: in C is is the sequence C D E F G A B C. As we pointed out, the last note is redundant, since we are using octave equiv ...
Full CD Booklet
... diminished seventh sound identical. The Etude is in sonata form where the first theme is diatonic and the second is chromatic. The development modulates entirely around the circle of nineteen fifths. An extended coda employs both diatonic and chromatic elements. The Fanfare in 19-note Equal Tuning w ...
... diminished seventh sound identical. The Etude is in sonata form where the first theme is diatonic and the second is chromatic. The development modulates entirely around the circle of nineteen fifths. An extended coda employs both diatonic and chromatic elements. The Fanfare in 19-note Equal Tuning w ...
The Octave - Bill Troxler
... The human mind interprets both notes in the octave as being essentially the same. That’s because the overtones of both notes are nearly identical. (More about overtones and harmonics later). Because tones that are an octave apart seem more or less identical, they bear the same name. The octave tone ...
... The human mind interprets both notes in the octave as being essentially the same. That’s because the overtones of both notes are nearly identical. (More about overtones and harmonics later). Because tones that are an octave apart seem more or less identical, they bear the same name. The octave tone ...
Nonchord tone - Chord Melody
... music of the common practice period, but can be used in analysis of other types of tonal music as well. For example, if a piece of music is currently on a C Major chord, the notes CEG are members of that chord, while any other note played at that time is a nonchord tone. While such tones are most ob ...
... music of the common practice period, but can be used in analysis of other types of tonal music as well. For example, if a piece of music is currently on a C Major chord, the notes CEG are members of that chord, while any other note played at that time is a nonchord tone. While such tones are most ob ...
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.