The apparition from the forest
... either from bottom to top (G–B–D–F–A), or from top to bottom (A–F–D– B–G). In either case the formations are similar, but the direction is chosen in order to reflect the direction of process (see the index of the terms below). When chord factors are listed in connection with instruments listed accor ...
... either from bottom to top (G–B–D–F–A), or from top to bottom (A–F–D– B–G). In either case the formations are similar, but the direction is chosen in order to reflect the direction of process (see the index of the terms below). When chord factors are listed in connection with instruments listed accor ...
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER
... These three images suit the music‘s quality of searching, tonal metamorphosis, the quality to be explored at length in this dissertation. Despite the existence of numerous previous studies of this music, the variety and indecisiveness of La mer‘s tonicities has been little examined. Nor is there an ...
... These three images suit the music‘s quality of searching, tonal metamorphosis, the quality to be explored at length in this dissertation. Despite the existence of numerous previous studies of this music, the variety and indecisiveness of La mer‘s tonicities has been little examined. Nor is there an ...
Understanding Basic Music Theory
... and spelling and point out the relationships between words. Those rules are only guidelines based on patterns discovered by the theoreticians, which is why there are usually plenty of "exceptions" to every rule. Attempts to develop a new language by rst inventing the grammar and spelling never seem ...
... and spelling and point out the relationships between words. Those rules are only guidelines based on patterns discovered by the theoreticians, which is why there are usually plenty of "exceptions" to every rule. Attempts to develop a new language by rst inventing the grammar and spelling never seem ...
abstract - eThesis
... Another approach has been to abide more closely by original Schenkerian notions, enriching them with some extensions and additions, such as Felix Salzer’s (1952/1982) “contrapuntal-structural tones,” “‘independent’ voice leading,” and “color chords.” In general, such analysis has been most successfu ...
... Another approach has been to abide more closely by original Schenkerian notions, enriching them with some extensions and additions, such as Felix Salzer’s (1952/1982) “contrapuntal-structural tones,” “‘independent’ voice leading,” and “color chords.” In general, such analysis has been most successfu ...
At The Cutting Edge: Three American Theorists at The End of The
... though George Ives was educated in the United States, his music education was as essentially German as those of Klauser and Ziehn. Kuhn's revolutionary interpretation of historical change portrays scientific development as a succession of tradition-bound periods punctuated by noncumulative breaks. A ...
... though George Ives was educated in the United States, his music education was as essentially German as those of Klauser and Ziehn. Kuhn's revolutionary interpretation of historical change portrays scientific development as a succession of tradition-bound periods punctuated by noncumulative breaks. A ...
Guitar Method I
... There are many shapes and sizes of guitars. If you are a small person, the last thing you want is a big guitar. It will force your body to contort in order to hold it. This, in turn, may lead to extreme joint positions which may cause physical injury in the form of tendonitis or carpal tunnel syndro ...
... There are many shapes and sizes of guitars. If you are a small person, the last thing you want is a big guitar. It will force your body to contort in order to hold it. This, in turn, may lead to extreme joint positions which may cause physical injury in the form of tendonitis or carpal tunnel syndro ...
Tripod Notation article
... a simple lattice or Tonnetz in Figure 1.1. This is a simple structure that may cause an undue amount of excitement. It’s made up of triangles that represent major and minor triads. Each basic consonance – perfect fifths and major and minor thirds – runs in a different direction. You can use it to fo ...
... a simple lattice or Tonnetz in Figure 1.1. This is a simple structure that may cause an undue amount of excitement. It’s made up of triangles that represent major and minor triads. Each basic consonance – perfect fifths and major and minor thirds – runs in a different direction. You can use it to fo ...
Expanded tonality - Scholar Commons
... In this article, Witten discusses Chopin’s use the toggle switch. This term is most frequently derived from progressions of third related chords, such as moving from the submediant triad to the tonic triad. An example that he uses to describe this technique is, “The distance between the roots of F m ...
... In this article, Witten discusses Chopin’s use the toggle switch. This term is most frequently derived from progressions of third related chords, such as moving from the submediant triad to the tonic triad. An example that he uses to describe this technique is, “The distance between the roots of F m ...
Chord Progressions
... "The recipe for music is part melody, lyric, rhythm, and harmony (chord progressions). The term chord progression refers to a succession of tones or chords played in a particular order for a specified duration that harmonizes with the melody. Except for styles such as rap and free jazz, chord progre ...
... "The recipe for music is part melody, lyric, rhythm, and harmony (chord progressions). The term chord progression refers to a succession of tones or chords played in a particular order for a specified duration that harmonizes with the melody. Except for styles such as rap and free jazz, chord progre ...
Harmonic innovations in the piano works of Debussy and Ravel
... with the music which went before. Speaking of Debussy, Oscar Thompson says, "As an innovator he has been overtaken and left behind by neoterics b ent on invalidating the old tonal sys~e m entirely. 11 Oscar Thompson: D_ebus s y , Man and Artist (1937), p .1 ~. ...
... with the music which went before. Speaking of Debussy, Oscar Thompson says, "As an innovator he has been overtaken and left behind by neoterics b ent on invalidating the old tonal sys~e m entirely. 11 Oscar Thompson: D_ebus s y , Man and Artist (1937), p .1 ~. ...
FREE Sample Here
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
FREE Sample Here
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
... D) staccato. Ans: A 29. A resting point for a melody is called a A) phrase. B) meter. C) cadence. D) sequence. Ans: C 30. A group of three or more notes that are played or sung together is called a(n) A) progression. B) chord. C) arpeggio. D) theme. Ans: B 31. A series of chords is called a/an A) pr ...
Mathemusical Thought - LUC Sakai
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
Jazz Scale Theory - mo` better blues
... Note the chromatic step-wise sequence from the perfect fourth through the tritone to the perfect fifth, the minor seventh degree, the minor third and the absence of a second degree to the scale. All notes sound good, and there are no “avoid” notes in the scale. The standard chord for the blues scale ...
... Note the chromatic step-wise sequence from the perfect fourth through the tritone to the perfect fifth, the minor seventh degree, the minor third and the absence of a second degree to the scale. All notes sound good, and there are no “avoid” notes in the scale. The standard chord for the blues scale ...
1. Historical definitions.
... first place, the dissonant chord can be meaningfully explained as a piling up of 3rds (‘meaningfully’ because at a stretch it is possible to reduce absolutely any chord to piledup 3rds); and if, in the second place, the resolution of the dissonance is associated with a change of harmony (a change of ...
... first place, the dissonant chord can be meaningfully explained as a piling up of 3rds (‘meaningfully’ because at a stretch it is possible to reduce absolutely any chord to piledup 3rds); and if, in the second place, the resolution of the dissonance is associated with a change of harmony (a change of ...
AP Theory Syllabus - Chelmsford Public Schools
... Course Objectives: At the end of this course, students should be able to: a. Notate pitch and rhythm in accordance with standard notation practices b. Read melodies in treble, bass, and movable C clefs c. Write, sing, and play major scales and all three forms of minor scales d. Recognize by ear and ...
... Course Objectives: At the end of this course, students should be able to: a. Notate pitch and rhythm in accordance with standard notation practices b. Read melodies in treble, bass, and movable C clefs c. Write, sing, and play major scales and all three forms of minor scales d. Recognize by ear and ...
Debussy - Nuages notes
... nocturnes, arabesques. His forms, too, tend to be a series of waves, whose principal themes recede into the background and continue as ostinatos while other versions of themselves or new material is superimposed. Although the thematic content of even large-scale works is fairly limited, alterations ...
... nocturnes, arabesques. His forms, too, tend to be a series of waves, whose principal themes recede into the background and continue as ostinatos while other versions of themselves or new material is superimposed. Although the thematic content of even large-scale works is fairly limited, alterations ...
Know Your Chords - Alan`s Guitar Page
... Chords are based on scales, so it is essential to know your scales beforehand. Many chords can be extracted from the modes of scales as well. Also, an understanding of intervals will be helpful to visualizing scales and chord structures. This guide gives a preliminary explanation of intervals, scale ...
... Chords are based on scales, so it is essential to know your scales beforehand. Many chords can be extracted from the modes of scales as well. Also, an understanding of intervals will be helpful to visualizing scales and chord structures. This guide gives a preliminary explanation of intervals, scale ...
Chapter One Introduction to Quarter
... There is little mention of microtonal music in primary academic scholarship, and what little exists often comprises only a brief en passant reference to microtonal music embedded within a topic that deals primarily with non-microtonal music. Even though the repertoire of microtonal compositions is g ...
... There is little mention of microtonal music in primary academic scholarship, and what little exists often comprises only a brief en passant reference to microtonal music embedded within a topic that deals primarily with non-microtonal music. Even though the repertoire of microtonal compositions is g ...
Basic Music Theory - 547 Canuck Squadron
... It can therefore be stated that a staff is composed of five lines and four spaces. The position of each note determines the PITCH of each sound. The higher the note is placed on the staff, the higher the sound. The lower the note is placed on the staff, the lower the sound. ...
... It can therefore be stated that a staff is composed of five lines and four spaces. The position of each note determines the PITCH of each sound. The higher the note is placed on the staff, the higher the sound. The lower the note is placed on the staff, the lower the sound. ...
Stephanie Reusch Paper 2 Composers use several types of non
... Because P is the first section of the piece, part of it’s function is to establish the key, so it’s no wonder that Mozart attempts to exaggerate and prolong the tonic with these nonchord tones. Though these non-chord tones certainly weaken the textural stability of the presentation, the listener sti ...
... Because P is the first section of the piece, part of it’s function is to establish the key, so it’s no wonder that Mozart attempts to exaggerate and prolong the tonic with these nonchord tones. Though these non-chord tones certainly weaken the textural stability of the presentation, the listener sti ...
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 ...
CIS 3000 Intervals Tutorial
... The formula for doing this is very simple: decrease the interval by one half step. A quick glance back at our recap however raises an interesting question: what happens when there is already another interval that is one half step smaller (for example, the major third and the perfect fourth)? The ans ...
... The formula for doing this is very simple: decrease the interval by one half step. A quick glance back at our recap however raises an interesting question: what happens when there is already another interval that is one half step smaller (for example, the major third and the perfect fourth)? The ans ...
Carl Nielsen Studies V - Svend Hvidtfelt Nielsen
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
... is obviously also capable of functioning as a predominant, the chords of 3.10. And according to Jersild’s use of tritone substitutions so also Salt, the tritone substitution of S, is a possible member of this position. Jersild explains: Chords which over a regular cadence have ‘equally long way home ...
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.