Major and Minor Pentatonic Scales
... Major and Minor Pentatonic Scales The word "pentatonic" comes from the Greek word pente meaning five and tonic meaning tone. Pentatonic scales are the staple of rock music and are used across the world in jazz, blues, country and bluegrass as well as West African music, African-American spirituals a ...
... Major and Minor Pentatonic Scales The word "pentatonic" comes from the Greek word pente meaning five and tonic meaning tone. Pentatonic scales are the staple of rock music and are used across the world in jazz, blues, country and bluegrass as well as West African music, African-American spirituals a ...
GCSE Music Revision Guide
... • how and why the music across the selected areas of study has changed over time • how the composer’s purpose and intention for the study pieces is reflected in their use of musical elements • relevant musical vocabulary and terminology for the study pieces Learning and musical language (for par ...
... • how and why the music across the selected areas of study has changed over time • how the composer’s purpose and intention for the study pieces is reflected in their use of musical elements • relevant musical vocabulary and terminology for the study pieces Learning and musical language (for par ...
Beyond Tonality
... Schoenberg, Webern, Berg and others struggled to find means of creating large-scale atonal structures ...
... Schoenberg, Webern, Berg and others struggled to find means of creating large-scale atonal structures ...
The Emergence of the Idea of Irrationality In Renaissance
... The Pythagorean scale was based on the Tetraktys. This scale was predominant up until the late Middle Ages. J. Murray Barbour presents the just intonation of Ramos de Pareja from 1492 as the earliest proposal for replacing the Pythagorean system (Barbour 1953). During the thirteenth to the fifteenth ...
... The Pythagorean scale was based on the Tetraktys. This scale was predominant up until the late Middle Ages. J. Murray Barbour presents the just intonation of Ramos de Pareja from 1492 as the earliest proposal for replacing the Pythagorean system (Barbour 1953). During the thirteenth to the fifteenth ...
S3 Theory Matters Workbook
... A cadence is a set of chords at the end of a phrase. If the phrase sounds rounded off, the cadence is PERFECT. If the phrase sounds unfinished it is IMPERFECT. A PERFECT cadence is made up of chords V (5) to I (1). An IMPERFECT cadence ends in chord 5, for example, I-V, IV-V etc. ...
... A cadence is a set of chords at the end of a phrase. If the phrase sounds rounded off, the cadence is PERFECT. If the phrase sounds unfinished it is IMPERFECT. A PERFECT cadence is made up of chords V (5) to I (1). An IMPERFECT cadence ends in chord 5, for example, I-V, IV-V etc. ...
Complete Appendices
... Relative key A major and minor scale that share the same key signature but not the same tonic note; for example, C major and A minor. Repeat sign ( ] } ) Two vertical lines with two dots placed in front or after the lines, instructing the musician to repeat a section. Rest A symbol to represent a sp ...
... Relative key A major and minor scale that share the same key signature but not the same tonic note; for example, C major and A minor. Repeat sign ( ] } ) Two vertical lines with two dots placed in front or after the lines, instructing the musician to repeat a section. Rest A symbol to represent a sp ...
Lewin, David “A Formal Theory of Generalized Tonal Functions”
... for Piano, Nielsen points right at a central issue of this Theme. It’s tonal ambiguity. This could lead to considerations of whether its tonal environment is best described through the much used concept of directed tonality, which Robert Simpson uses, or whether one such try Bailey and Krebs’ concep ...
... for Piano, Nielsen points right at a central issue of this Theme. It’s tonal ambiguity. This could lead to considerations of whether its tonal environment is best described through the much used concept of directed tonality, which Robert Simpson uses, or whether one such try Bailey and Krebs’ concep ...
On Tonal Dynamics and Musical Meaning - Signata
... A basic and probably universal property of tones is that they are identiied by octaves, that is, tone intervals corresponding to multiples of an F0. Octave hearing, the perception of octave equivalency, is built into the human brain, apparently by a neural mapping in the auditory thalamus; monkeys a ...
... A basic and probably universal property of tones is that they are identiied by octaves, that is, tone intervals corresponding to multiples of an F0. Octave hearing, the perception of octave equivalency, is built into the human brain, apparently by a neural mapping in the auditory thalamus; monkeys a ...
Octave - Philip Tagg
... 1. OCTAVE AS UNISON. All known music traditions tend to treat two pitches an octave apart as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch contour at the same time in parallel octaves. The octave’s property of ...
... 1. OCTAVE AS UNISON. All known music traditions tend to treat two pitches an octave apart as ‘the same note’. For example, men are understood to be singing the same tune as women and children if both parties follow the same pitch contour at the same time in parallel octaves. The octave’s property of ...
Scales and Temperament - Department of Physics and Astronomy
... ‣ We’ve talked a lot about the physics of producing sounds in instruments ...
... ‣ We’ve talked a lot about the physics of producing sounds in instruments ...
Mathematics of Music 1. INTRODUCTION 2. HISTORY OF FOURIER
... Figure g. This is a graph of a clarinet playing the same tone. The wave is similar to that of the oboe, but still notably different due to the different harmonics sounding with the fundamental. http://www.jhu.edu/signals/listen-new/listen-newindex.htm Harmonics are integer multiples of the fundament ...
... Figure g. This is a graph of a clarinet playing the same tone. The wave is similar to that of the oboe, but still notably different due to the different harmonics sounding with the fundamental. http://www.jhu.edu/signals/listen-new/listen-newindex.htm Harmonics are integer multiples of the fundament ...
Harmony
... CURRICULUM MAP Course/ Subject: HARMONY Month: MARCH – Chapter 8 – Non-Harmonic Tones ...
... CURRICULUM MAP Course/ Subject: HARMONY Month: MARCH – Chapter 8 – Non-Harmonic Tones ...
e-Workbook TECHNIQUES AND MATERIALS OF MUSIC Part I
... It is important in all your writing both to analyze and understand the choices you are making, and to produce a result that is pleasing and musical to the ear. Part I on musical rudiments is new to this edition. These written exercises provide for a review of musical fundamentals that many students ...
... It is important in all your writing both to analyze and understand the choices you are making, and to produce a result that is pleasing and musical to the ear. Part I on musical rudiments is new to this edition. These written exercises provide for a review of musical fundamentals that many students ...
La Monte Young`s The Well-Tuned Piano Kyle Gann Perspectives of
... tuning in seven-limit just intonation ("seven-limit" meaning that no prime numbers larger than seven appear as factors). The tuning is based on Eb as 111, a choice that evolved from Young's saxophone improvisations. His favorite scale for improvising was G Dorian, in which he developed extended mate ...
... tuning in seven-limit just intonation ("seven-limit" meaning that no prime numbers larger than seven appear as factors). The tuning is based on Eb as 111, a choice that evolved from Young's saxophone improvisations. His favorite scale for improvising was G Dorian, in which he developed extended mate ...
Quick Guide To Chord Charts The term harmonic rhythm refers to
... the music to be accompanied is known. In the standard form of notation for songs, called a lead sheet, the melody is given in staff notation. The harmonic rhythm is usually indicated by the placement of chord symbols, above the notation for the melody, at the points in time at which changes of chord ...
... the music to be accompanied is known. In the standard form of notation for songs, called a lead sheet, the melody is given in staff notation. The harmonic rhythm is usually indicated by the placement of chord symbols, above the notation for the melody, at the points in time at which changes of chord ...
Music Theory & Ear Training for Busy Adults
... E.g., The C major scale and the A natural minor scale are relative major and minor, respectively. (By the way, the C major and A natural minor scales are special cases in that they use only white keys.) 7. Modes are scales which use the same menu of notes as major and minor scales, but have other ro ...
... E.g., The C major scale and the A natural minor scale are relative major and minor, respectively. (By the way, the C major and A natural minor scales are special cases in that they use only white keys.) 7. Modes are scales which use the same menu of notes as major and minor scales, but have other ro ...
Fundamentals of Music G9-12
... Another way to think of major scales is as two tetra chords; that is, as two fournote patterns. As long as you reproduce the whole/half step pattern, you create a major scale from any pitch. Ancient Greeks, especially Plato, saw a strong connection between musical scales and human emotions. Musical ...
... Another way to think of major scales is as two tetra chords; that is, as two fournote patterns. As long as you reproduce the whole/half step pattern, you create a major scale from any pitch. Ancient Greeks, especially Plato, saw a strong connection between musical scales and human emotions. Musical ...
lesson 1 - john p birchall
... The smallest formal INTERVAL in Western music is a SEMITONE, and the succession of semitones between any note and its OCTAVE is a CHROMATIC SCALE. The chromatic scale divides the octave into 12 EQUAL SEMITONES. See Example 1. Play this over on your instrument and listen to the sound. This scale cont ...
... The smallest formal INTERVAL in Western music is a SEMITONE, and the succession of semitones between any note and its OCTAVE is a CHROMATIC SCALE. The chromatic scale divides the octave into 12 EQUAL SEMITONES. See Example 1. Play this over on your instrument and listen to the sound. This scale cont ...
Chapter 8 Intervals - G Major Music Theory
... • A perfect interval is a 4th, 5th or 8ve in which the top note is in the scale (or key) of the bottom note. Compared to a perfect interval with the same letter names... • an augmented interval is a half-step larger than the perfect interval • a diminished interval is a half-steps smaller than the p ...
... • A perfect interval is a 4th, 5th or 8ve in which the top note is in the scale (or key) of the bottom note. Compared to a perfect interval with the same letter names... • an augmented interval is a half-step larger than the perfect interval • a diminished interval is a half-steps smaller than the p ...
Glossary of Common Musical Terms and Concepts
... harmonic minor scale - a minor scale with the 7th note raised one semitone melodic minor scale - a minor scale with the 6th and 7th notes raised a semitone when ascending, and put back to normal when descending minor pentatonic scale - a major pentatonic scale starting on the 6th degree; or, a scale ...
... harmonic minor scale - a minor scale with the 7th note raised one semitone melodic minor scale - a minor scale with the 6th and 7th notes raised a semitone when ascending, and put back to normal when descending minor pentatonic scale - a major pentatonic scale starting on the 6th degree; or, a scale ...
Daniel Liles
... when any of the four notes of this chord are respelled (enharmonically) it will then act as a pivot chord leading to a new key. This is the device Rameau implements in twelve measures after the Reprise in L’Enharmonique—the climax of the piece. This effect produced in these two measures results fro ...
... when any of the four notes of this chord are respelled (enharmonically) it will then act as a pivot chord leading to a new key. This is the device Rameau implements in twelve measures after the Reprise in L’Enharmonique—the climax of the piece. This effect produced in these two measures results fro ...
Reharmonization as Process in Fauré`s Prelude Op. 103, No. 3
... major 3rd) thus reprises the first progression of the piece, a kind of parallax in that G minor arrives too soon and within a transitional passage. But the sequence continues on as before – the Gr+6 from m. 2 is reinterpreted as V7 (of Ab minor) – leading back to Eb minor just as the sequence in mm. ...
... major 3rd) thus reprises the first progression of the piece, a kind of parallax in that G minor arrives too soon and within a transitional passage. But the sequence continues on as before – the Gr+6 from m. 2 is reinterpreted as V7 (of Ab minor) – leading back to Eb minor just as the sequence in mm. ...
Expanded Tonality in Quartal Space: Back to Debussy`s
... as a melodic or harmonic center. However, it is important to note that these recurrences occur almost exclusively in the beginning and end of the piece coinciding with sections in F major. Although key signatures are to be taken with caution in Debussy's music, one may assume from this observation t ...
... as a melodic or harmonic center. However, it is important to note that these recurrences occur almost exclusively in the beginning and end of the piece coinciding with sections in F major. Although key signatures are to be taken with caution in Debussy's music, one may assume from this observation t ...
Western music history, pitch salience, key profiles, and the origins of
... tonal syntax from finite set of clear axioms? ...
... tonal syntax from finite set of clear axioms? ...
Violin sound quality: can it be controlled within the parameters of
... Consonant and dissonant tones mark opposite ends of a continuum of pleasantness and unpleasantness. The theory underlying consonant and dissonant tones relates to how well tone combinations fit comfortably with our perception of sound. A perceived tone has within it a series of equally spaced harmon ...
... Consonant and dissonant tones mark opposite ends of a continuum of pleasantness and unpleasantness. The theory underlying consonant and dissonant tones relates to how well tone combinations fit comfortably with our perception of sound. A perceived tone has within it a series of equally spaced harmon ...
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.