A CONTOUR-BASED JAZZ WALKING BASS GENERATOR
... The algorithm needs to know the current chord and the next one in order to be able to calculate a phrase. The target note is the last note of the phrase to be generated. A simple probabilistic algorithm chooses which of the notes belonging to the next chord will be used e.g. fundamental, 3rd, 5th, 7 ...
... The algorithm needs to know the current chord and the next one in order to be able to calculate a phrase. The target note is the last note of the phrase to be generated. A simple probabilistic algorithm chooses which of the notes belonging to the next chord will be used e.g. fundamental, 3rd, 5th, 7 ...
Ki ho`alu Guitar Tunings Guitar Tunings
... positions on the neck, and an overview of slack key tuning classifications. Section 2 – Tunings - This is the chord chart section of the manual, which also includes some background information about each tuning, a selection of the common first position chords, and “open and closed” position diagrams ...
... positions on the neck, and an overview of slack key tuning classifications. Section 2 – Tunings - This is the chord chart section of the manual, which also includes some background information about each tuning, a selection of the common first position chords, and “open and closed” position diagrams ...
Voc Music Baseline
... 2. The pitch distance between two tones is ______. A. chord B. Accent C. Interval 3. The number of notes a particular voice can sing is called_____. A. Range B. natural C. Scale 4. Intervals that are sung simultaneously are called______ A. Harmonic Interval B. Diminished interval C. chord 5. A music ...
... 2. The pitch distance between two tones is ______. A. chord B. Accent C. Interval 3. The number of notes a particular voice can sing is called_____. A. Range B. natural C. Scale 4. Intervals that are sung simultaneously are called______ A. Harmonic Interval B. Diminished interval C. chord 5. A music ...
BG Vocab
... frets. 6. Octave: Range between one note and the same note repeated either lower or higher. (From the root “oct-” meaning “eight” because there are eight natural notes in an octave.) 7. Scale: an arrangement of notes in a system of ascending or descending pitch, usually within an octave 8. Chromatic ...
... frets. 6. Octave: Range between one note and the same note repeated either lower or higher. (From the root “oct-” meaning “eight” because there are eight natural notes in an octave.) 7. Scale: an arrangement of notes in a system of ascending or descending pitch, usually within an octave 8. Chromatic ...
LABBS Harmony College 2003: Understanding the Barbershop Style
... LABBS Harmony College 2003: Understanding the Barbershop Style Definition of the Barbershop Style Barbershop harmony is a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. The melody is consistently sung by the ...
... LABBS Harmony College 2003: Understanding the Barbershop Style Definition of the Barbershop Style Barbershop harmony is a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. The melody is consistently sung by the ...
1 - USC Upstate
... 13. Chord voicing - Frist read "Chord." The the way the pitches of a chord are ordered or arranged. Recalling our "C" chord "CEG," we can place those pitches in any order and they are still a C chord - "EGC" or "GCE" etc. Duplicate pitches do not affect the identity (sonority) of the chord - "CEGEG ...
... 13. Chord voicing - Frist read "Chord." The the way the pitches of a chord are ordered or arranged. Recalling our "C" chord "CEG," we can place those pitches in any order and they are still a C chord - "EGC" or "GCE" etc. Duplicate pitches do not affect the identity (sonority) of the chord - "CEGEG ...
Level 9 - The Music Makers
... Be able to hear the difference between natural, harmonic and melodic minor scales. Be able to hear the difference between 214 and 314,314 and 414, 414 and 514, and 514 and 6/8 meters. Identiff the tonality of a four-measure phrase in Major or minor. Be able to identi$, the Roman numerals and figured ...
... Be able to hear the difference between natural, harmonic and melodic minor scales. Be able to hear the difference between 214 and 314,314 and 414, 414 and 514, and 514 and 6/8 meters. Identiff the tonality of a four-measure phrase in Major or minor. Be able to identi$, the Roman numerals and figured ...
Tippett * Concerto for double string orchestra: movement I
... Interestingly, Tippett chooses to use whole tone melodic patterns for much of the following section, thereby obscuring the sense of tonality. As the Recapitulation is reached (b.1 29) there is a firm return to A , which is maintained thereaf ter as the centre of tonality until the coda. The Co ...
... Interestingly, Tippett chooses to use whole tone melodic patterns for much of the following section, thereby obscuring the sense of tonality. As the Recapitulation is reached (b.1 29) there is a firm return to A , which is maintained thereaf ter as the centre of tonality until the coda. The Co ...
Mathematical Properties of the Octatonic “Diminished
... find quite surprising since he includes most other advanced harmonies (such as flattened 6ths, major 7ths and unusual chromatic sequences). It also, of course, serves as a scale upon which to write melodies over a diminished chord. In jazz the scale is very widely used, especially (and almost exclus ...
... find quite surprising since he includes most other advanced harmonies (such as flattened 6ths, major 7ths and unusual chromatic sequences). It also, of course, serves as a scale upon which to write melodies over a diminished chord. In jazz the scale is very widely used, especially (and almost exclus ...
Appendix 1
... Mediant The third note (or chord) in a major or minor scale. Melodic interval The interval created when two pitches are written or sounded consecutively. (See Harmonic interval.) Melodic minor scale In the ascending melodic minor, the sixth and seventh tones of the natural minor scale are raised a h ...
... Mediant The third note (or chord) in a major or minor scale. Melodic interval The interval created when two pitches are written or sounded consecutively. (See Harmonic interval.) Melodic minor scale In the ascending melodic minor, the sixth and seventh tones of the natural minor scale are raised a h ...
Document
... When you play a C, you are also playing G, E, Bb, etc. in different amounts and in Just Intonation. ...
... When you play a C, you are also playing G, E, Bb, etc. in different amounts and in Just Intonation. ...
Appendix 1 Musical Terms
... Root position A chord position with the root of the chord in the lowest note; for example, GBD, with G as the lowest note of the G triad. Scale A pattern of notes consisting of a variety of intervals, usually whole steps and half steps. Some examples include the major, three forms of minor, whole to ...
... Root position A chord position with the root of the chord in the lowest note; for example, GBD, with G as the lowest note of the G triad. Scale A pattern of notes consisting of a variety of intervals, usually whole steps and half steps. Some examples include the major, three forms of minor, whole to ...
File
... The closing of the poco piu lento section slightly alters the phrasing. A breath is clearly signaled by a rest on beat 3 of the final measure of the phrase. In the allegro section, with the exception of m.76-84, all breaths are clearly marked by the use of rest. Although there are rests in the solo ...
... The closing of the poco piu lento section slightly alters the phrasing. A breath is clearly signaled by a rest on beat 3 of the final measure of the phrase. In the allegro section, with the exception of m.76-84, all breaths are clearly marked by the use of rest. Although there are rests in the solo ...
A major triad (C or CM) uses the first (root), 3rd, and 5th of a major
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
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, ...
File - Bill Troxler
... A chord is a stack of at least three tones played simultaneously. When chords are built on the diatonic scale used in most traditional music, three forms are created: major - minor - diminished These stacks of three tones are called “triads”. Additional tones are often added to the basic triads. The ...
... A chord is a stack of at least three tones played simultaneously. When chords are built on the diatonic scale used in most traditional music, three forms are created: major - minor - diminished These stacks of three tones are called “triads”. Additional tones are often added to the basic triads. The ...
In the Style of: George Benson Blues!
... a look to see why this might work... In example A the lick begins with a chromatic approach to Bb (chord root). The triplet outlines the basic Bb major triad and continues to outline the entire Bb7 chord in the next two highlighted notes (7th and root). Finally the lick ends with chord 7th (Ab) and ...
... a look to see why this might work... In example A the lick begins with a chromatic approach to Bb (chord root). The triplet outlines the basic Bb major triad and continues to outline the entire Bb7 chord in the next two highlighted notes (7th and root). Finally the lick ends with chord 7th (Ab) and ...
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 ...
Glossary - terms used in music analysis
... resolution. Treatment of dissonance became much more liberal during the 19th and 20th Centuries. Dominant - the 5th note of a scale. Hence G is the dominant note of C major, G-B-D is the dominant triad of C major, and G major is the dominant key of C major. The dominant chord is the second most impo ...
... resolution. Treatment of dissonance became much more liberal during the 19th and 20th Centuries. Dominant - the 5th note of a scale. Hence G is the dominant note of C major, G-B-D is the dominant triad of C major, and G major is the dominant key of C major. The dominant chord is the second most impo ...
a PDF version of this work.
... technique that emerges in nineteenth-century music. As previously stated, both chromaticism and directed motion are means of making obumbrate the background harmonies, yet other means exist as well. The use of upper dominant discords and mode mixture are two additional aspects of tonal blurring. Whe ...
... technique that emerges in nineteenth-century music. As previously stated, both chromaticism and directed motion are means of making obumbrate the background harmonies, yet other means exist as well. The use of upper dominant discords and mode mixture are two additional aspects of tonal blurring. Whe ...
Lesson_QQQ_-_Advance..
... important information. The numbers symbolized by Roman numerals indicate the scale degrees on which chords are built. “I” indicates a chord built on 1, “ii” a chord built on 2, and so on. Furthermore, the case of the Roman numeral indicates the quality of the chord. For triads, uppercase indicates a ...
... important information. The numbers symbolized by Roman numerals indicate the scale degrees on which chords are built. “I” indicates a chord built on 1, “ii” a chord built on 2, and so on. Furthermore, the case of the Roman numeral indicates the quality of the chord. For triads, uppercase indicates a ...
The Baroque 1/4
... Step-wise movement gives the music direction – towards the tonic or the dominant; often helped by contrary motion in the top part. •Ascending scales usually move between tonic and dominant chords (examples on next slide). •Descending scale movements produce particularly strong and satisfying progres ...
... Step-wise movement gives the music direction – towards the tonic or the dominant; often helped by contrary motion in the top part. •Ascending scales usually move between tonic and dominant chords (examples on next slide). •Descending scale movements produce particularly strong and satisfying progres ...
MUSIC 111 Class Notes 2
... • weak beats between stronger beats • African American dance rhythms Jazz • polyrhythmic - simultaneous use of conflicting rhythmic patterns - straight notes • equal (metrical) - Metrical Patterns • simple securing patterns ...
... • weak beats between stronger beats • African American dance rhythms Jazz • polyrhythmic - simultaneous use of conflicting rhythmic patterns - straight notes • equal (metrical) - Metrical Patterns • simple securing patterns ...
The Geometry of Musical Chords REPORTS
... The content of a collection of notes is often more important than their order. Chords can therefore be modeled as multisets of either pitches or pitch classes. (BChord[ will henceforth refer to a multiset of pitch classes unless otherwise noted.) The musical term Btransposition[ is synonymous with t ...
... The content of a collection of notes is often more important than their order. Chords can therefore be modeled as multisets of either pitches or pitch classes. (BChord[ will henceforth refer to a multiset of pitch classes unless otherwise noted.) The musical term Btransposition[ is synonymous with t ...
Chord (music)
A chord, in music, is any harmonic set of three or more notes that is heard as if sounding simultaneously. These need not actually be played together: arpeggios and broken chords may, for many practical and theoretical purposes, constitute chords. Chords and sequences of chords are frequently used in modern Western, West African and Oceanian music, whereas they are absent from the music of many other parts of the world.In tonal Western classical music, the most frequently encountered chords are triads, so called because they consist of three distinct notes: further notes may be added to give tetrads such as seventh chords and added tone chords, as well as extended chords and tone clusters. Triads commonly found in the Western classical tradition are major, minor, augmented and diminished chords. The descriptions major, minor, augmented, and diminished are referred to collectively as chordal quality. Chords are also commonly classified by their root note—for instance, a C major triad consists of the pitch classes C, E, and G. Chords may also be classified by inversion, the way in which their pitches are vertically arranged.An ordered series of chords is called a chord progression. Although any chord may in principle be followed by any other chord, certain patterns of chords have been accepted as establishing key in common-practice harmony. To describe this, Western music theory has developed the practicing of numbering chords using Roman numerals which represent the number of diatonic steps up from the tonic note of the scale. Common ways of notating or representing chords in Western music other than conventional staff notation include Roman numerals, figured bass, macro symbols (sometimes used in modern musicology), and chord charts. Each of these systems is more likely to appear in certain contexts: figured bass notation was used prominently in notation of Baroque music, macro symbols are used in modern musicology, and chord charts are typically found in the lead sheets used in popular music.