Higher Concepts Higher Music Listening 2014 Onwards Music
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
Higher Concepts - Garnock Academy
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
... A cadence is formed by two chords at the end of a phrase. A plagal cadence is the subdominant to tonic chords ( IV–I ). In the key of C major, chords F to C. A cadence is formed by two chords at the end of a phrase. An interrupted cadence is usually formed by the chords V–VI. (In the key of C major, ...
Summary of Tonal Harmony - Leon Couch`s Course Listings
... disrupted. The only absolutely forbidden NCT is one with leaps on both sides of a dissonance; i.e., arpeggios must outline a chord. 2. The pedal point is considered dissonant by K&P while harmonies progress above it; but, this is wrong—the pedal point is the harmonic pillar on which passing harmonie ...
... disrupted. The only absolutely forbidden NCT is one with leaps on both sides of a dissonance; i.e., arpeggios must outline a chord. 2. The pedal point is considered dissonant by K&P while harmonies progress above it; but, this is wrong—the pedal point is the harmonic pillar on which passing harmonie ...
11ths and 13ths - Scored Changes
... Note that this same chord can be found written differently. C11 automatically implies that the major 3rd is omitted. The third symbol (in the second bar) shows that the same chord can be thought of as being a minor 7th on a pedal note a perfect fifth below. This is often easier for a piano player to ...
... Note that this same chord can be found written differently. C11 automatically implies that the major 3rd is omitted. The third symbol (in the second bar) shows that the same chord can be thought of as being a minor 7th on a pedal note a perfect fifth below. This is often easier for a piano player to ...
Figured Bass Basic Concepts
... analysis. The practice of using Roman numerals to track the harmony can accommodate non-diatonic chords tones using the following conventions: a. flat or sharp in front of a figure lowers or raises the diatonic pitch by a half step. b. slash through the figure raises the pitch, just like a sharp. c. ...
... analysis. The practice of using Roman numerals to track the harmony can accommodate non-diatonic chords tones using the following conventions: a. flat or sharp in front of a figure lowers or raises the diatonic pitch by a half step. b. slash through the figure raises the pitch, just like a sharp. c. ...
presentation
... selection from tonic soprano vector; generate soprano melody via random walk (unless its value corresponds to leading tone, in which case it must go up) ...
... selection from tonic soprano vector; generate soprano melody via random walk (unless its value corresponds to leading tone, in which case it must go up) ...
Tonal Harmony Chapter 7 Harmonic Progression and the Sequence
... 2. Chords may not function in a sequence in their usual ways-that is, according to the chord diagrams 3. Inversions do not affect a harmonic sequence 4. Sequences may begin and end at any point in the pattern Example of sequences (pg. 107 example 7-19) Harmonizing a Simple Melody Writing only of r ...
... 2. Chords may not function in a sequence in their usual ways-that is, according to the chord diagrams 3. Inversions do not affect a harmonic sequence 4. Sequences may begin and end at any point in the pattern Example of sequences (pg. 107 example 7-19) Harmonizing a Simple Melody Writing only of r ...
Notes - Andre Mount
... or II on the way to V. Important possibilities include the chromatic inflection n4-#4, usually from IV6, and chromaticized voice exchange, usually from IV, but also from II65, etc. Augmented 6th chords can also result from the chromatic inflection n6-b6 in the bass, often from altered II or IV (V or ...
... or II on the way to V. Important possibilities include the chromatic inflection n4-#4, usually from IV6, and chromaticized voice exchange, usually from IV, but also from II65, etc. Augmented 6th chords can also result from the chromatic inflection n6-b6 in the bass, often from altered II or IV (V or ...
ROOTS LEVEL - Youth Music Project
... Identify all of the line and space note names on the Treble Clef Play treble clef notes in c position (C, D, E, F, G) Demonstrate understanding of measure, bar lines, double bar lines, repeat, staff, treble clef Understand and demonstrate ability to follow basic song form (AB, verse, cho ...
... Identify all of the line and space note names on the Treble Clef Play treble clef notes in c position (C, D, E, F, G) Demonstrate understanding of measure, bar lines, double bar lines, repeat, staff, treble clef Understand and demonstrate ability to follow basic song form (AB, verse, cho ...
Sample Grade 4 Theory Paper
... Circle five different mistakes in the following music, then write it out correctly. ...
... Circle five different mistakes in the following music, then write it out correctly. ...
Chords Triads
... In the same way that popular musicians often use numbers to talk about the notes in a scale, they often use numbers to talk about the notes in a chord. Each note in the chord is given a number, which refers to the scale degree from which that note is taken. For example, C Major is numbered as follow ...
... In the same way that popular musicians often use numbers to talk about the notes in a scale, they often use numbers to talk about the notes in a chord. Each note in the chord is given a number, which refers to the scale degree from which that note is taken. For example, C Major is numbered as follow ...
TERMS AND CONCEPTS OF 20TH C. MUSIC GENERAL: ostinato
... neotonality -- music that is tonal but in which the tonal center is established throughout nontraditional means; may be tertian and non-tertian open-fifth chord -- a traditional sonority that is transformed into something unusual by leaving out a note; in this case a triad without a third pandiatoni ...
... neotonality -- music that is tonal but in which the tonal center is established throughout nontraditional means; may be tertian and non-tertian open-fifth chord -- a traditional sonority that is transformed into something unusual by leaving out a note; in this case a triad without a third pandiatoni ...
Intro to Figured Bass
... intervals above the given bass notes. The bass is played by the left hand, and chords are built up in the right from the intervals supplied. The following numbers are employed: 2 3 4 5 6 7 8 9. Up to 3 numbers are stacked vertically to indicate simultaneous intervals. Intervals in figured bass are w ...
... intervals above the given bass notes. The bass is played by the left hand, and chords are built up in the right from the intervals supplied. The following numbers are employed: 2 3 4 5 6 7 8 9. Up to 3 numbers are stacked vertically to indicate simultaneous intervals. Intervals in figured bass are w ...
Sample Grade 4 Theory Paper
... Transpose this tune up an octave so that a double bass will be able to play it at the same pitch as the following notes. ...
... Transpose this tune up an octave so that a double bass will be able to play it at the same pitch as the following notes. ...
Second Inversion Triads
... Second inversion triads (6-4 chords, or “six-four” chords) have the fifth of the chord as the lowest note (also called the bass, pronounced “base”). They do not always follow the standard progressions from Section 5.3. Instead, they depend on nearby chords for their harmonic function. They almost al ...
... Second inversion triads (6-4 chords, or “six-four” chords) have the fifth of the chord as the lowest note (also called the bass, pronounced “base”). They do not always follow the standard progressions from Section 5.3. Instead, they depend on nearby chords for their harmonic function. They almost al ...
Tonic and Dominant
... • Built upon the fifth scale degree in the diatonic scale • Appears in Major and minor, but is typically altered in the minor mode because it contains the leading tone (^7) of the diatonic scale ...
... • Built upon the fifth scale degree in the diatonic scale • Appears in Major and minor, but is typically altered in the minor mode because it contains the leading tone (^7) of the diatonic scale ...
Major Diatonic Chords
... chords are very rare. VI7 occurs usually as part of a progression of 7th chords. Note that the only note that is modified in the minor chords is the Bb to a B natural, which is the leading tone in the major scale. The leading tone plays such an important role that these chords have been modified to ...
... chords are very rare. VI7 occurs usually as part of a progression of 7th chords. Note that the only note that is modified in the minor chords is the Bb to a B natural, which is the leading tone in the major scale. The leading tone plays such an important role that these chords have been modified to ...
Elements of Music
... Many times you may see chords with another note next to it Such as D/F#. Usually this note is already in the chord, but they want you to highlight it as a bass note. Bass players can usually stick to going with the second note. Another popular chord is a suspended chord. It would be written like As ...
... Many times you may see chords with another note next to it Such as D/F#. Usually this note is already in the chord, but they want you to highlight it as a bass note. Bass players can usually stick to going with the second note. Another popular chord is a suspended chord. It would be written like As ...
Harmony Rules - Jeanie`s Online Music Studio
... A Plagal cadence is chords IV – I and has a finished sound bring the music to a close. Write down the available notes. • We work these exactly as for the perfect cadence except there is no leading note. * Write in the bass notes (the root of each chord). * Keep the note in common to both chords in t ...
... A Plagal cadence is chords IV – I and has a finished sound bring the music to a close. Write down the available notes. • We work these exactly as for the perfect cadence except there is no leading note. * Write in the bass notes (the root of each chord). * Keep the note in common to both chords in t ...
study guide - Junior High Band
... a. Movement between guide tones should be either by half or whole step. (Occasionally there will be places where you need to use a chord tone other than a third or seventh to keep the movement of the line within a step or half step.) b. Thirds of one chord often become the seventh (sometimes altered ...
... a. Movement between guide tones should be either by half or whole step. (Occasionally there will be places where you need to use a chord tone other than a third or seventh to keep the movement of the line within a step or half step.) b. Thirds of one chord often become the seventh (sometimes altered ...
Understanding Chord Symbols - Florida Music Education Associations
... Minor chords, with the exception of the minor seventh chord (Cmi7) function essentially the same way as major chords. The extensions indicated are derived from the ascending melodic minor form of the scale, in essence just a major scale with a flatted third. Hence, the symbol Cmi6/9 represents the ...
... Minor chords, with the exception of the minor seventh chord (Cmi7) function essentially the same way as major chords. The extensions indicated are derived from the ascending melodic minor form of the scale, in essence just a major scale with a flatted third. Hence, the symbol Cmi6/9 represents the ...
Voice-Leading Guidelines:
... chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at a cadence. Passing: The bass steps up (or down) over the three notes. Therefore, the 6-4 ...
... chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4 chord occurs on a strong beat or strong portion of a beat. This chord is really an embellishment of the dominant chord at a cadence. Passing: The bass steps up (or down) over the three notes. Therefore, the 6-4 ...
Harmonic Analysis 1: Homophonic Texture
... The third harmony in the example above is ambiguous, because there are only two pitches: C and E. The missing note of the triad could be either G (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will ...
... The third harmony in the example above is ambiguous, because there are only two pitches: C and E. The missing note of the triad could be either G (for CEG, a I chord) or A (for ACE=vi). To resolve ambiguities like this one: 1. Consider the harmonic progressions from section 5.3. Sometimes this will ...
- Anything Goes
... An analysis of “All through the night” and “Blow Gabriel Blow” presents a great opportunity to introduce aural and analytical / musicianship skills that explore chromatic scales, arpeggios, the circle of fifths and jazz chords. Teachers can use ideas such as: • Comparison of the two songs: i. What ...
... An analysis of “All through the night” and “Blow Gabriel Blow” presents a great opportunity to introduce aural and analytical / musicianship skills that explore chromatic scales, arpeggios, the circle of fifths and jazz chords. Teachers can use ideas such as: • Comparison of the two songs: i. What ...
Slide 1
... Within a key, Major chords are assigned UPPERCASE Roman numerals (I, II, III, etc), while minor chords are assigned lowercase Roman numerals (i, ii, iii, etc) ...
... Within a key, Major chords are assigned UPPERCASE Roman numerals (I, II, III, etc), while minor chords are assigned lowercase Roman numerals (i, ii, iii, etc) ...
Chord names and symbols (popular music)
Various kinds of chord names and symbols are used in different contexts, to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and the corresponding symbol are typically composed of one or more of the following parts: The root note (e.g. C). The chord quality (e.g. major, maj, or M). The number of an interval (e.g. seventh, or 7), or less often its full name or symbol (e.g. major seventh, maj7, or M7). The altered fifth (e.g. sharp five, or ♯5). An additional interval number (e.g. add 13 or add13), in added tone chords.For instance, the name C augmented seventh, and the corresponding symbol Caug7, or C+7, are both composed of parts 1, 2, and 3.Except for the root, these parts do not refer to the notes which form the chord, but to the intervals they form with respect to the root. For instance, Caug7 indicates a chord formed by the notes C-E-G♯-B♭. The three parts of the symbol (C, aug, and 7) refer to the root C, the augmented (fifth) interval from C to G♯, and the (minor) seventh interval from C to B♭. A set of decoding rules is applied to deduce the missing information.Although they are used occasionally in classical music, these names and symbols are ""universally used in jazz and popular music"",usually inside lead sheets, fake books, and chord charts, to specify the harmony of compositions.Other notation systems for chords include:plain staff notation, used in classical music, Roman numerals, commonly used in harmonic analysis,figured bass, much used in the Baroque era, and macro symbols, sometimes used in modern musicology.