Music 11, 7/20/06 Texture: Homophony and Polyphony Homophony
... the chord members for any given bass note, but common practice has led us to a kind of shorthand. For now, the above list should be memorized. In future lessons on functional harmony, these numbers might take on a more meaningful definition… Seventh Chords Seventh chords have four members: root, thi ...
... the chord members for any given bass note, but common practice has led us to a kind of shorthand. For now, the above list should be memorized. In future lessons on functional harmony, these numbers might take on a more meaningful definition… Seventh Chords Seventh chords have four members: root, thi ...
Lecture 5
... as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices A piece's texture may be affected by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmony, tem ...
... as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices A piece's texture may be affected by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmony, tem ...
• Melody = a succession of pitches at specific durations that begins
... a 'piece' = a musical composition which is played on instruments. ...
... a 'piece' = a musical composition which is played on instruments. ...
A Guide to Part Writing Involving Root Position Triads
... Important exception: In major mode, it's possible to resolve the leading tone down to the next available chord tone when it is in an inner voice (tenor or alto), circumventing the above procedure, and resulting in a normal doubling for the submediant triad. This is not acceptable in the minor mod ...
... Important exception: In major mode, it's possible to resolve the leading tone down to the next available chord tone when it is in an inner voice (tenor or alto), circumventing the above procedure, and resulting in a normal doubling for the submediant triad. This is not acceptable in the minor mod ...
musical texture
... consonant and dissonant intervals are used in music, ideally in a balanced way. Chords are built from the combination of intervals formed by playing three or more different notes together. The way in which we build chords and combine them is defined asharmony. Major chord A very common chord type is ...
... consonant and dissonant intervals are used in music, ideally in a balanced way. Chords are built from the combination of intervals formed by playing three or more different notes together. The way in which we build chords and combine them is defined asharmony. Major chord A very common chord type is ...
Popular Music Theory - The Academy Of Popular Music
... For example, in twelve-tone equal temperament* the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard (see below), and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressi ...
... For example, in twelve-tone equal temperament* the notes C♯ and D♭ are enharmonic (or enharmonically equivalent) notes. Namely, they are the same key on a keyboard (see below), and thus they are identical in pitch, although they have different names and different roles in harmony and chord progressi ...
Document
... Time Signature – two numbers that appear at the beginning of a piece of music which indicate how many beats there are in a bar. Dorian Mode – a scale running from D to D on the keyboard using only white notes Jig – an Irish Dance ...
... Time Signature – two numbers that appear at the beginning of a piece of music which indicate how many beats there are in a bar. Dorian Mode – a scale running from D to D on the keyboard using only white notes Jig – an Irish Dance ...
Symbolic Music Representations
... The most common naming convention for intervals uses two attributes to describe them: quality and number. Quality Quality: perfect, major, minor, augmented, diminished. Number Number: unison, second, third, fifth, sixth, seventh, octave and is based on counting staff positions ...
... The most common naming convention for intervals uses two attributes to describe them: quality and number. Quality Quality: perfect, major, minor, augmented, diminished. Number Number: unison, second, third, fifth, sixth, seventh, octave and is based on counting staff positions ...
SEVENTH CHORDS Every triad can be extended by adding another
... The dominant seventh chord (the Mm seventh chord) is by far the most common seventh chord. The fully and half diminished seventh chords are the next most common chords. ...
... The dominant seventh chord (the Mm seventh chord) is by far the most common seventh chord. The fully and half diminished seventh chords are the next most common chords. ...
Music 11, 7/24/06 Fundamental of harmony Melodies are often built
... can easily understand the harmony that it expresses. A harmony will often emerge in melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way it visits all its members. Some notes, though, do not fit into the triad this example ...
... can easily understand the harmony that it expresses. A harmony will often emerge in melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way it visits all its members. Some notes, though, do not fit into the triad this example ...
Defintions - WordPress.com
... Defintions Music 100 A capella- choral music without instrumental accompaniment Accents- emphasis on a note (either louder, longer, higher) compared to notes around it Arpeggio (Broken Chord) - sounding of the individual tones of a chord in sequence rather than simultaneously Bar/Measure- a group se ...
... Defintions Music 100 A capella- choral music without instrumental accompaniment Accents- emphasis on a note (either louder, longer, higher) compared to notes around it Arpeggio (Broken Chord) - sounding of the individual tones of a chord in sequence rather than simultaneously Bar/Measure- a group se ...
Secondary Functions 1 - Appoquinimink High School
... #1. Is the altered chord a major triad or major-minor seventh chord? If not, than it is not a secondary dominant #2. Find the note a P5 below the root of the altered chord #3. Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is a secondary dom ...
... #1. Is the altered chord a major triad or major-minor seventh chord? If not, than it is not a secondary dominant #2. Find the note a P5 below the root of the altered chord #3. Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is a secondary dom ...
Tonal Harmony Chapter 22 Augmented Sixth Chord
... The last Ger+6 in example 22-13 spelled differently from the others, although it sounds the same (A#=Bb). This is a common enharmonic spelling of the Ger+6, used in the major mode only, when the Ger+6 is going to I64 The reason for the use of enharmonic spelling is more for the eye than for the ear: ...
... The last Ger+6 in example 22-13 spelled differently from the others, although it sounds the same (A#=Bb). This is a common enharmonic spelling of the Ger+6, used in the major mode only, when the Ger+6 is going to I64 The reason for the use of enharmonic spelling is more for the eye than for the ear: ...
Musical Terms - Rogers State University
... accompaniment, two or more melodies, layering of different rhythms, nonmelodic ...
... accompaniment, two or more melodies, layering of different rhythms, nonmelodic ...
Learning Outcome
... The concepts of whole, half and quarter note rests. The concept of sharp and flat notes. Identify and play the notes F# and C# within the first 4 frets. How to play a simple melody with eighth notes at a steady tempo (example: Frere Jacques, Minuet in G) How to play a chord progression with the chor ...
... The concepts of whole, half and quarter note rests. The concept of sharp and flat notes. Identify and play the notes F# and C# within the first 4 frets. How to play a simple melody with eighth notes at a steady tempo (example: Frere Jacques, Minuet in G) How to play a chord progression with the chor ...
lhs music theory final exam review sheet
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing. 3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
Blank UbD Planning Template
... which consists of a fairly predictable chord order, which then follows a harmonic rhythm. ...
... which consists of a fairly predictable chord order, which then follows a harmonic rhythm. ...
View printable PDF of 2.2 Roman numerals
... When analyzing with roman numerals, always go through these steps: 1. STACK-OF-THIRDS: Reorder the notes in a single octave so that they form a stack of only thirds. You may have to try several notes on the bottom before you find the "stack-of-thirds" formation. 2. Determine the root. The bottom not ...
... When analyzing with roman numerals, always go through these steps: 1. STACK-OF-THIRDS: Reorder the notes in a single octave so that they form a stack of only thirds. You may have to try several notes on the bottom before you find the "stack-of-thirds" formation. 2. Determine the root. The bottom not ...
Other diatonic 7th chords
... The I7 can be a major seventh (in major) and a minor seventh (in minor). The chordal seventh behaves like a descending passing tone: approached from above by scale degree 1 (in a tonic triad) and resolving to scale degree 6 (usually in a vi/VI, IV/iv or ii/iio triad or seventh chord). Deciding if th ...
... The I7 can be a major seventh (in major) and a minor seventh (in minor). The chordal seventh behaves like a descending passing tone: approached from above by scale degree 1 (in a tonic triad) and resolving to scale degree 6 (usually in a vi/VI, IV/iv or ii/iio triad or seventh chord). Deciding if th ...
File
... Including: Seventh chords – a triad with an added seventh Inversions – changing the order of notes in the chord by changing what note is in the bass Cluster chords – a chord with at least three notes adjacent in the scale A sequence of tones that are all perfect fifths above each other. C maj – no s ...
... Including: Seventh chords – a triad with an added seventh Inversions – changing the order of notes in the chord by changing what note is in the bass Cluster chords – a chord with at least three notes adjacent in the scale A sequence of tones that are all perfect fifths above each other. C maj – no s ...
The Common-Tone Diminished Seventh Chord 7
... which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root o ...
... which is the same as one of the notes of the 7 chord. Although the ct 7 chord may embellish any triad or dominant seventh˜ chord, it most often progresses to I or V7 in major (minor examples are rare). The ct 7 chord may be spelled˜ in any manner as long as one of the notes be the same as the root o ...
Tonal Harmony Chapter 15 Other Diatonic Seventh Chords
... o In minor, when the root of the submediant seventh moves up by step to rasied 7th, the 6th must be raised to avoid an interval of +2. The chord that results when 6th is raised is a half diminished seventh: #viø7 ø7 #vi usually serves as a passing chord between two chords of dominant function (V o ...
... o In minor, when the root of the submediant seventh moves up by step to rasied 7th, the 6th must be raised to avoid an interval of +2. The chord that results when 6th is raised is a half diminished seventh: #viø7 ø7 #vi usually serves as a passing chord between two chords of dominant function (V o ...
Twentieth Century New scales New chords (almost any combination
... Concerto for Orchestra‐ “Concerto” in the sense that every section of the orchestra is featured as “soloists” at some point, and much of the music is technically demanding as a concerto would be. ...
... Concerto for Orchestra‐ “Concerto” in the sense that every section of the orchestra is featured as “soloists” at some point, and much of the music is technically demanding as a concerto would be. ...
Dan`s Music Theory 101 Cheat Sheet
... Root- The note in which a chord is based on. ex.- C is the root of a Cm7. Scale- Subset of notes in order, usually consisting of whole and half steps over the course of an octave. Sharp- Raises the note a half step. Whole Step- Two notches on the wheel. Also called a Tone. 1-4-5 - Since the 3 major ...
... Root- The note in which a chord is based on. ex.- C is the root of a Cm7. Scale- Subset of notes in order, usually consisting of whole and half steps over the course of an octave. Sharp- Raises the note a half step. Whole Step- Two notches on the wheel. Also called a Tone. 1-4-5 - Since the 3 major ...
Dan`s Music Theory 101 Cheat Sheet []
... Root- The note in which a chord is based on. ex.- C is the root of a Cm7. Scale- Subset of notes in order, usually consisting of whole and half steps over the course of an octave. Sharp- Raises the note a half step. Whole Step- Two notches on the wheel. Also called a Tone. 1-4-5 - Since the 3 major ...
... Root- The note in which a chord is based on. ex.- C is the root of a Cm7. Scale- Subset of notes in order, usually consisting of whole and half steps over the course of an octave. Sharp- Raises the note a half step. Whole Step- Two notches on the wheel. Also called a Tone. 1-4-5 - Since the 3 major ...
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.