Reharmonization as Process in Fauré`s Prelude Op. 103, No. 3
... transposed up by half step. The melody of each pattern combines the top tetrachord of one minor scale with the bottom tetrachord of the minor scale a half step higher; as a result, the melody of each pattern contains seven out of eight notes of an octatonic scale. In the first pattern, for instance, ...
... transposed up by half step. The melody of each pattern combines the top tetrachord of one minor scale with the bottom tetrachord of the minor scale a half step higher; as a result, the melody of each pattern contains seven out of eight notes of an octatonic scale. In the first pattern, for instance, ...
Ornamentation in Music
... Appoggiatura: a note preparatory to another or to a chord acting as an unprepared suspension. The appoggiatura is always played on the beat - the principal note follows. The duration of the appoggiatura in performance is determined by the note value of the principal note; for an undotted principal n ...
... Appoggiatura: a note preparatory to another or to a chord acting as an unprepared suspension. The appoggiatura is always played on the beat - the principal note follows. The duration of the appoggiatura in performance is determined by the note value of the principal note; for an undotted principal n ...
the fundamental principles of harmony
... This treatise offers to both teacher and student a unique and powerful knowledge of the musical universe of chords, harmonic syntax, doublings, and spacings. Taught as the art of hearing and listening, Harmony is treated here with sensitivity and musicality. From thorough analysis of the norms and s ...
... This treatise offers to both teacher and student a unique and powerful knowledge of the musical universe of chords, harmonic syntax, doublings, and spacings. Taught as the art of hearing and listening, Harmony is treated here with sensitivity and musicality. From thorough analysis of the norms and s ...
MSP_lecture8 - New York University
... Two notes really define the character – especially unison + third We can have more than two notes sounding simultaneously To add color or richness let’s add a third note “Triad” : unison + third + fifth ...
... Two notes really define the character – especially unison + third We can have more than two notes sounding simultaneously To add color or richness let’s add a third note “Triad” : unison + third + fifth ...
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 ...
modern jazz techniques
... states, “The octotonic scale is a rich source of melodic and harmonic material. It contains all of the intervals, from minor 2nd up to major 7th. All of the tertian triads except for the augmented triad can be extracted from this scale, as can four of the five common 7thchord types (the major-7th ca ...
... states, “The octotonic scale is a rich source of melodic and harmonic material. It contains all of the intervals, from minor 2nd up to major 7th. All of the tertian triads except for the augmented triad can be extracted from this scale, as can four of the five common 7thchord types (the major-7th ca ...
COURSE TITLE - Metropolitan Community College
... Practice drawing the treble and bass clefs. B. Locate and name pitches in terms of the treble and bass clefs. C. Determine high and low pitches on the Grand Staff. 2. Differentiate between whole, half, quarter, eighth and sixteenth notes. A. Define the relative length of each note in respect to the ...
... Practice drawing the treble and bass clefs. B. Locate and name pitches in terms of the treble and bass clefs. C. Determine high and low pitches on the Grand Staff. 2. Differentiate between whole, half, quarter, eighth and sixteenth notes. A. Define the relative length of each note in respect to the ...
Revision Pack for: MUSIC AS
... Balanced phrasing melodic organisation made up of two balanced phrases in succession; the Figured first phrase, bass musical notation in which numerals and symbols (often accidentals) indicate called the antecedent, comes to a point of partial completeness; it is balanced by the intervals, chords, a ...
... Balanced phrasing melodic organisation made up of two balanced phrases in succession; the Figured first phrase, bass musical notation in which numerals and symbols (often accidentals) indicate called the antecedent, comes to a point of partial completeness; it is balanced by the intervals, chords, a ...
File - Bill Troxler
... Ionian mode scales in the keys of C, D, G, A and E major In the key of “C” that’s: C D E F G A B Natural minor Scales in the keys of Eminor, A minor, D minor and G minor In the key of “A minor” that’s: A B C D E F G Major Pentatonic in the keys of C, G, D, A, E and F In the key of “C” that’s: C D E ...
... Ionian mode scales in the keys of C, D, G, A and E major In the key of “C” that’s: C D E F G A B Natural minor Scales in the keys of Eminor, A minor, D minor and G minor In the key of “A minor” that’s: A B C D E F G Major Pentatonic in the keys of C, G, D, A, E and F In the key of “C” that’s: C D E ...
Night in Tunisia thoughts,
... So it makes sense to use over any dominant seventh with extensions, the notable exceptions being natural 9, and b13, which we have other scales to handle (maybe another thread for this). 4) the four triads the dim scale can be resequenced into a series of major triads whose roots are a minor third a ...
... So it makes sense to use over any dominant seventh with extensions, the notable exceptions being natural 9, and b13, which we have other scales to handle (maybe another thread for this). 4) the four triads the dim scale can be resequenced into a series of major triads whose roots are a minor third a ...
Jazz Improvisation for Classical Musicians
... exploding some of the myths about this appealing but potentially daunting art form. Its purpose is to attempt to stimulate and encourage those of you who wish to be able to improvise but lack the confidence to, or those of you who have dabbled in improvising and wish to be better. The field of impro ...
... exploding some of the myths about this appealing but potentially daunting art form. Its purpose is to attempt to stimulate and encourage those of you who wish to be able to improvise but lack the confidence to, or those of you who have dabbled in improvising and wish to be better. The field of impro ...
Matt Pike Music 122 Final Paper Ravel – String Quartet in F Major
... third relations serve different purposes. In the exposition, when the opening theme is played for the second time, in F, it is denied by an A major chord. A third relation of a major third, jammed into the middle of a passage with a definite tonal center. This third relation functions to disrupt the ...
... third relations serve different purposes. In the exposition, when the opening theme is played for the second time, in F, it is denied by an A major chord. A third relation of a major third, jammed into the middle of a passage with a definite tonal center. This third relation functions to disrupt the ...
Chromaticism II: Tonicization/Modulation
... Often more than one chord that can be read in both keys. In such cases, it may seem analytically useful to analyze in reference to both keys at the same time. This is achieved by utilizing two sets of Roman numerals, one on top of the other. Generally the "original" key is placed on top, and the "ne ...
... Often more than one chord that can be read in both keys. In such cases, it may seem analytically useful to analyze in reference to both keys at the same time. This is achieved by utilizing two sets of Roman numerals, one on top of the other. Generally the "original" key is placed on top, and the "ne ...
63. Familia Valera Miranda Se quema la chumbamba
... After the cuatro introduction, there is a regular succession of 8 bar pregón ‘verses’ (which change each time in detail) and 8 bar (mostly) unvaried coro ‘refrains’. This pattern is sometimes slightly varied by the pregón singing a virtually unchanged version of the coro refrain, both with regard to ...
... After the cuatro introduction, there is a regular succession of 8 bar pregón ‘verses’ (which change each time in detail) and 8 bar (mostly) unvaried coro ‘refrains’. This pattern is sometimes slightly varied by the pregón singing a virtually unchanged version of the coro refrain, both with regard to ...
document - Far Western District
... has its roots as “ear music,” harmony singers would often use tense chords (minor, diminished, augmented, suspended) that simply BEGGED to be released to a major finish. Most often, the “Barbershop 7th” (Minor 7th, Dominant 7th) is used to generate this tension. We’ll investigate and experience this ...
... has its roots as “ear music,” harmony singers would often use tense chords (minor, diminished, augmented, suspended) that simply BEGGED to be released to a major finish. Most often, the “Barbershop 7th” (Minor 7th, Dominant 7th) is used to generate this tension. We’ll investigate and experience this ...
Other Chords of the Major Key
... a major third interval as the lower interval and a minor third upper interval. Minor Chords are made up of a minor third interval as the lower interval and a major third upper interval. The viio chord, however, is made up a two minor third intervals, thus a diminished chord. Examples of the Leading ...
... a major third interval as the lower interval and a minor third upper interval. Minor Chords are made up of a minor third interval as the lower interval and a major third upper interval. The viio chord, however, is made up a two minor third intervals, thus a diminished chord. Examples of the Leading ...
“Eric Whitacre Sleep” Analysis
... complex harmonies (see Style for how Whitacre describes this technique in his own words). • Another pedal note can be found in the consequent phrase, this time in Soprano (see fig. II, bb.4-5, marked with ties for illustration). This example clearly illustrates Whitacre’s approach to pedal notes: th ...
... complex harmonies (see Style for how Whitacre describes this technique in his own words). • Another pedal note can be found in the consequent phrase, this time in Soprano (see fig. II, bb.4-5, marked with ties for illustration). This example clearly illustrates Whitacre’s approach to pedal notes: th ...
music questions section i
... What is another name for sharps or flats? a. Accidentals What is a natural? a. When a sharp or flat is “undone” What happens when the music is notated? a. All three types of minor scales use the same key signature How many scales, major or minor, are there? a. 24 (12 major, 12 minor) Why? a. Have to ...
... What is another name for sharps or flats? a. Accidentals What is a natural? a. When a sharp or flat is “undone” What happens when the music is notated? a. All three types of minor scales use the same key signature How many scales, major or minor, are there? a. 24 (12 major, 12 minor) Why? a. Have to ...
FREE - James Buckham
... From within the chord tones: Between the lowest two notes there is a major 3rd. Between the root and the third lowest note there is a perfect 5th. Between the root and the highest note there is a minor 7th. The chord symbol that corresponds to this set of intervals is D7 – D dominant seventh, or jus ...
... From within the chord tones: Between the lowest two notes there is a major 3rd. Between the root and the third lowest note there is a perfect 5th. Between the root and the highest note there is a minor 7th. The chord symbol that corresponds to this set of intervals is D7 – D dominant seventh, or jus ...
Score ppt
... Harmony – simple diatonic mainly chords I and V7 Melody dominated Homophonic texture Strong quaver rhythm throughout (raindrops) LEGATO (smooth) CANTABILE (singable/songlike) Lots of RUBATO (stretched) throughout to add expression melody throughout ...
... Harmony – simple diatonic mainly chords I and V7 Melody dominated Homophonic texture Strong quaver rhythm throughout (raindrops) LEGATO (smooth) CANTABILE (singable/songlike) Lots of RUBATO (stretched) throughout to add expression melody throughout ...
Romantic and impressionist harmony
... chromatic world of Liszt and Wagner with their complex chords and fast key interactions (which German theorists call ’Leittonharmonik’). Many ideas in romantic harmony can be found later in compositions of the impressionism: new chord structures (tertian and non tertian) and the emergence of modal t ...
... chromatic world of Liszt and Wagner with their complex chords and fast key interactions (which German theorists call ’Leittonharmonik’). Many ideas in romantic harmony can be found later in compositions of the impressionism: new chord structures (tertian and non tertian) and the emergence of modal t ...
38. Schubert Der Doppelgänger Background information and performance circumstances 1
... Texture The texture is homophonic. The voice has the main melodic interest. The piano part is almost entirely homorhythmic or chordal (with block chords) as at the start. • It has mostly chords containing five notes – but only because there is much parallel doubling*. • It often has just two ‘real’ ...
... Texture The texture is homophonic. The voice has the main melodic interest. The piano part is almost entirely homorhythmic or chordal (with block chords) as at the start. • It has mostly chords containing five notes – but only because there is much parallel doubling*. • It often has just two ‘real’ ...
In the Style of: George Benson Blues!
... Finally, for lick #5, we have two fairly different sets of harmony for the same lick. In example A we have a dominant 7th chord, the IV in an F blues, and in example B a II - V - I progression. Lets take a look to see why this might work... In example A the lick begins with a chromatic approach to B ...
... Finally, for lick #5, we have two fairly different sets of harmony for the same lick. In example A we have a dominant 7th chord, the IV in an F blues, and in example B a II - V - I progression. Lets take a look to see why this might work... In example A the lick begins with a chromatic approach to B ...
AoS2 – Harmony and Tonality
... ! A special four-‐note chord can be built on the dominant – chord V ! Instead of doubling one of the triad notes we add a new notes seven notes about the root ! For example, in C major, ...
... ! A special four-‐note chord can be built on the dominant – chord V ! Instead of doubling one of the triad notes we add a new notes seven notes about the root ! For example, in C 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.