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) ...
Notes - Andre Mount
... Augmented 6th chords are called that because they’re characterized by an augmented 6th The interval expands outward to an octave o Part of a V chord “To generalize, the bass of an augmented 6th chord is a half step above 5 (6 in minor or b6 in major), one of the upper voices is a half step bel ...
... Augmented 6th chords are called that because they’re characterized by an augmented 6th The interval expands outward to an octave o Part of a V chord “To generalize, the bass of an augmented 6th chord is a half step above 5 (6 in minor or b6 in major), one of the upper voices is a half step bel ...
Elements of Music Quiz
... overtone series B.) gravity C.) chords D.) rondo. 4. Melody in music deals with A.) the pulse of the music B.) the speed of the beat C.) a series of notes put together to make one musical idea D.) the study of logical chord progressions. 5. The monophonic type of texture refers to A.) a prominent me ...
... overtone series B.) gravity C.) chords D.) rondo. 4. Melody in music deals with A.) the pulse of the music B.) the speed of the beat C.) a series of notes put together to make one musical idea D.) the study of logical chord progressions. 5. The monophonic type of texture refers to A.) a prominent me ...
A Guide to Part Writing Involving Root Position Triads
... alto), circumventing the above procedure, and resulting in a normal doubling for the submediant triad. This is not acceptable in the minor mode because it results in a leap of an augmented second. Writing in three parts: · In order to avoid parallel or consecutive P5's and P8's, do one of the fo ...
... alto), circumventing the above procedure, and resulting in a normal doubling for the submediant triad. This is not acceptable in the minor mode because it results in a leap of an augmented second. Writing in three parts: · In order to avoid parallel or consecutive P5's and P8's, do one of the fo ...
Tonal Harmony Chapter 7 Harmonic Progression and the Sequence
... o [vi][ ii ] [V] I---------follow by anything The III Chord Another 5th backward brings us to the iii chord o [iii][vi][ ii ] [V] I---------follow by anything o When a [iii] is found in a major-mode bass line, the chord above it is almost always a I6 rather than a [iii] o The III chord ...
... o [vi][ ii ] [V] I---------follow by anything The III Chord Another 5th backward brings us to the iii chord o [iii][vi][ ii ] [V] I---------follow by anything o When a [iii] is found in a major-mode bass line, the chord above it is almost always a I6 rather than a [iii] o The III chord ...
notes from guest lecturer from the
... can be read by musicians in any country. the notation stays the same. conductors conduct from a score. the history of music reflects its time, environment, feeling, even racial/ cultural make up. uses for music: all occasions, weddings, funerals,etc. live music - has moments that can never be recapt ...
... can be read by musicians in any country. the notation stays the same. conductors conduct from a score. the history of music reflects its time, environment, feeling, even racial/ cultural make up. uses for music: all occasions, weddings, funerals,etc. live music - has moments that can never be recapt ...
Major Diatonic Chords
... classified as non-chord tones or NCTs; they do not form part of the chord. As such, these two notes must be resolved into part of the dominant 7th chord, so the G moves up to the A and the D moves down to the C, with the result that all six notes in the second chord are part of the dominant 7th ...
... classified as non-chord tones or NCTs; they do not form part of the chord. As such, these two notes must be resolved into part of the dominant 7th chord, so the G moves up to the A and the D moves down to the C, with the result that all six notes in the second chord are part of the dominant 7th ...
Chords Triads
... The most common type of chord is the triad – three note chords. Each triad is made up of a root (the first note), a third and a fifth. As well as being built on the first degree of a scale, most triads can be built starting on all the degrees of a scale. Each degree of the scale becomes the root for ...
... The most common type of chord is the triad – three note chords. Each triad is made up of a root (the first note), a third and a fifth. As well as being built on the first degree of a scale, most triads can be built starting on all the degrees of a scale. Each degree of the scale becomes the root for ...
Music Theory answers
... Tonic chords are labeled with uppercase Roman numeral I Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two co ...
... Tonic chords are labeled with uppercase Roman numeral I Chords are most commonly built using what intervals? major and minor thirds How a chord or a scale sounds is defined as quality There are five qualities of chords and scales: Major, Minor, Half Diminished, Diminished, and Augmented. What two co ...
Higher Concepts - Dunblane High School Music Website
... consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon. In addition the harpsichord, organ or lute player was expected to fill in harmonies built on that bass line. Sometimes figures were written under the bass line indicating the chords the composer would like pl ...
... consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon. In addition the harpsichord, organ or lute player was expected to fill in harmonies built on that bass line. Sometimes figures were written under the bass line indicating the chords the composer would like pl ...
Higher Concepts Higher Music Listening 2014 Onwards Music
... part consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon. In addition the harpsichord, organ or lute player was expected to fill in harmonies built on that bass line. Sometimes figures were written under the bass line indicating the chords the composer would li ...
... part consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon. In addition the harpsichord, organ or lute player was expected to fill in harmonies built on that bass line. Sometimes figures were written under the bass line indicating the chords the composer would li ...
Higher Concepts - Garnock Academy
... part consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon. In addition the harpsichord, organ or lute player was expected to fill in harmonies built on that bass line. Sometimes figures were written under the bass line indicating the chords the composer would li ...
... part consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon. In addition the harpsichord, organ or lute player was expected to fill in harmonies built on that bass line. Sometimes figures were written under the bass line indicating the chords the composer would li ...
Understanding Chord Symbols - Florida Music Education Associations
... Though there are common patterns (such as the ubiquitous ii-V7-I), chord symbols exist independent of the home key of the composition, and as such can appear in any particular order. Be aware that the first letter, or root note of any chord symbol refers to the major scale built upon that note. All ...
... Though there are common patterns (such as the ubiquitous ii-V7-I), chord symbols exist independent of the home key of the composition, and as such can appear in any particular order. Be aware that the first letter, or root note of any chord symbol refers to the major scale built upon that note. All ...
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. ...
Intro to Figured Bass
... Like jazz piano, figured bass combines music notation with chord symbols. Figured bass uses numbers and a bass line to represent 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 empl ...
... Like jazz piano, figured bass combines music notation with chord symbols. Figured bass uses numbers and a bass line to represent 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 empl ...
Music Theory answers
... Notes that are marked with sharps, flats or naturals that are not in the key signature are called accidentals What is rule for accidentals? Accidentals are carried through the measure they are in. What might indicate that the tonal center or key of a piece is changing? Accidentals start to appear co ...
... Notes that are marked with sharps, flats or naturals that are not in the key signature are called accidentals What is rule for accidentals? Accidentals are carried through the measure they are in. What might indicate that the tonal center or key of a piece is changing? Accidentals start to appear co ...
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 ...
Sample Grade 4 Theory Paper
... Write a one-octave G natural minor scale in minims going up then down. Use a key signature. ...
... Write a one-octave G natural minor scale in minims going up then down. Use a key signature. ...
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 ...
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 ...
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. ...
- Anything Goes
... 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 melodic devices are used in each and how do they differ? e.g. “Night” is a descending chromatic scale, ...
... 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 melodic devices are used in each and how do they differ? e.g. “Night” is a descending chromatic scale, ...
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 ...
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.