e-Workbook TECHNIQUES AND MATERIALS OF MUSIC Part I
... Part I on musical rudiments is new to this edition. These written exercises provide for a review of musical fundamentals that many students need in order to be successful with the more advanced material to follow. For the exercises in Part III: Where there is chromaticism, be sure you understand the ...
... Part I on musical rudiments is new to this edition. These written exercises provide for a review of musical fundamentals that many students need in order to be successful with the more advanced material to follow. For the exercises in Part III: Where there is chromaticism, be sure you understand the ...
Blues theory - Virtual Music School
... inversions of each other. C-major penta has the same notes as A-minor penta. In fact, a pentatonic scale is the same as a ‘normal’ diatonic scale, with two omissions: the 4th and 7th note in major, and the 2nd and 6th in minor. The scale that was important for the development of the blues was the mi ...
... inversions of each other. C-major penta has the same notes as A-minor penta. In fact, a pentatonic scale is the same as a ‘normal’ diatonic scale, with two omissions: the 4th and 7th note in major, and the 2nd and 6th in minor. The scale that was important for the development of the blues was the mi ...
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 ...
Word Format - Years 11 and 12 - School Curriculum and Standards
... © School Curriculum and Standards Authority, 2014 This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet, for non-commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority ...
... © School Curriculum and Standards Authority, 2014 This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet, for non-commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority ...
What is Tonality - California State University, Los Angeles
... Music is in a tonal system only if (i) it is possible to distinguish between foreground and precompositional system with respect to it, yet (ii) all of its foreground events are referable to the precompositional system. The second clause of this formulation is implied by the passage from Perle (1977 ...
... Music is in a tonal system only if (i) it is possible to distinguish between foreground and precompositional system with respect to it, yet (ii) all of its foreground events are referable to the precompositional system. The second clause of this formulation is implied by the passage from Perle (1977 ...
Stephanie Reusch Paper 2 Composers use several types of non
... the left hand, again perhaps prolonging the idea of tonic during the dominant harmony. 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-c ...
... the left hand, again perhaps prolonging the idea of tonic during the dominant harmony. 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-c ...
Grunge Music In Bloom: Musical Analysis of Nirvana`s Hit
... In analyzing the song, I intend to point out aesthetic characteristics, not unlike those found in classical music, arrived at from an intuitive process, and by musicians who lack any classical music training. The unique way in which these qualities are applied in the harmonic, melodic and rhythmic c ...
... In analyzing the song, I intend to point out aesthetic characteristics, not unlike those found in classical music, arrived at from an intuitive process, and by musicians who lack any classical music training. The unique way in which these qualities are applied in the harmonic, melodic and rhythmic c ...
INTERVALS INTERVAL size and quality
... The perfect consonances are the more stable consonances and are used at points of articulation, e.g. beginnings and endings of phrases, sections, pieces. The imperfect consonances are less stable and are used in places where music needs to continue. The dissonant intervals The rest of the intervals ...
... The perfect consonances are the more stable consonances and are used at points of articulation, e.g. beginnings and endings of phrases, sections, pieces. The imperfect consonances are less stable and are used in places where music needs to continue. The dissonant intervals The rest of the intervals ...
Carl Nielsen Studies V - Svend Hvidtfelt Nielsen
... from the key of C major the gender-changes of 4D are not even notated. From DD we proceed in a cadence back to T, albeit T minor. From here the music again makes an upswing, now to 3.. This however does not proceed to a dominant, but on the contrary it continues its move down the S-pile. As this hap ...
... from the key of C major the gender-changes of 4D are not even notated. From DD we proceed in a cadence back to T, albeit T minor. From here the music again makes an upswing, now to 3.. This however does not proceed to a dominant, but on the contrary it continues its move down the S-pile. As this hap ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... from the key of C major the gender-changes of 4D are not even notated. From DD we proceed in a cadence back to T, albeit T minor. From here the music again makes an upswing, now to 3.. This however does not proceed to a dominant, but on the contrary it continues its move down the S-pile. As this hap ...
... from the key of C major the gender-changes of 4D are not even notated. From DD we proceed in a cadence back to T, albeit T minor. From here the music again makes an upswing, now to 3.. This however does not proceed to a dominant, but on the contrary it continues its move down the S-pile. As this hap ...
Theory PreTest - DHS Marching Band Featured in Times
... A symbol placed above or below a notehead, indicating that you should play the note with more emphasis or stress, is called: a. slur b. accent c. legato d. staccato e. none of the above ...
... A symbol placed above or below a notehead, indicating that you should play the note with more emphasis or stress, is called: a. slur b. accent c. legato d. staccato e. none of the above ...
For Unit 6: Further Musical Understanding
... discovered that many of the pieces were not in fact by Pergolesi after all. Only the ‘Vivo’ in this selection is by him – from the last movement of a cello sonata. The Sinfonia is from a Trio Sonata by the Venetian composer Gallo, while the Gavotta is from a keyboard piece by Monza. The ballet score ...
... discovered that many of the pieces were not in fact by Pergolesi after all. Only the ‘Vivo’ in this selection is by him – from the last movement of a cello sonata. The Sinfonia is from a Trio Sonata by the Venetian composer Gallo, while the Gavotta is from a keyboard piece by Monza. The ballet score ...
NGFL_Shost_movt_2_analysis
... At Fig. 17, DSCH is heard in violins, in canon at the octave, and in this time in minims. Figures 17 - 18 explore the original tetrachord of a diminished 4th (i.e. Bª - E¨): note the cello in bar 68/9 with two statements of 2317 before moving to a steady crotchet bass line supporting the canon in t ...
... At Fig. 17, DSCH is heard in violins, in canon at the octave, and in this time in minims. Figures 17 - 18 explore the original tetrachord of a diminished 4th (i.e. Bª - E¨): note the cello in bar 68/9 with two statements of 2317 before moving to a steady crotchet bass line supporting the canon in t ...
Scales - SmartSite
... scales, keys, intervals, triads--some of the things that go to make up musical tonality. If you already know something about this material (often called “harmony and theory”), it should take you 30 minutes or so to look over and refresh your memory. If it’s all new to you, it will probably take some ...
... scales, keys, intervals, triads--some of the things that go to make up musical tonality. If you already know something about this material (often called “harmony and theory”), it should take you 30 minutes or so to look over and refresh your memory. If it’s all new to you, it will probably take some ...
List of musical symbols - paulandersonguitar.com
... Clefs define the pitch range of the staff on which it is placed. A clef is usually the leftmost symbol on a staff. Additional clefs may appear in the middle of a staff to indicate a change in register for instruments with a wide range. In early music, clefs could be placed on any of several lines on ...
... Clefs define the pitch range of the staff on which it is placed. A clef is usually the leftmost symbol on a staff. Additional clefs may appear in the middle of a staff to indicate a change in register for instruments with a wide range. In early music, clefs could be placed on any of several lines on ...
Introduction to Reading Music Homework 5 15-212, Fall 2006
... musicians, or in the case of piano, by a single musician with two hands. In such cases, there are multiple sequences of notes that must be played simultaneously independent of each other. Such music is typeset by writing several staffs one below the other, one for each instrument or hand. Note that ...
... musicians, or in the case of piano, by a single musician with two hands. In such cases, there are multiple sequences of notes that must be played simultaneously independent of each other. Such music is typeset by writing several staffs one below the other, one for each instrument or hand. Note that ...
Tonal Harmony Chapter 1 Elements of Pitch
... A harmonic interval results when the notes are performed at the same time A melodic interval occurs when the notes are played successively The method of measuring for both type of intervals are the same Two parts to any interval name: o Numerical name: how far apart regardless of what accide ...
... A harmonic interval results when the notes are performed at the same time A melodic interval occurs when the notes are played successively The method of measuring for both type of intervals are the same Two parts to any interval name: o Numerical name: how far apart regardless of what accide ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... Clues to consider when analyzing a group of phrases for the first time 1. Look for the location of repetitions a. If repetition occurs somewhere in the middle of passage, a parallel period (or some kind of repeated form) is a likely possibility b. If repetition occurs immediately after the initial m ...
... Clues to consider when analyzing a group of phrases for the first time 1. Look for the location of repetitions a. If repetition occurs somewhere in the middle of passage, a parallel period (or some kind of repeated form) is a likely possibility b. If repetition occurs immediately after the initial m ...
a geometric model for the analysis of pop music
... easy to see that the musical result will amount to an exact transposition of the original sequence. However, this musical interpretation is less obvious for alternative operations such as rotations or homothetic transformations. Example 12 illustrates the case of two trajectories related by a 180° r ...
... easy to see that the musical result will amount to an exact transposition of the original sequence. However, this musical interpretation is less obvious for alternative operations such as rotations or homothetic transformations. Example 12 illustrates the case of two trajectories related by a 180° r ...
Modal Jazz and Miles Davis: George Russell`s Influence and the
... Russell’s discovery of the Lydian mode’s relationship to its tonic triad was crucial to his Concept, for he had found a scale that truly captured the sound of the major chord. When the Lydian scale is played over its tonic triad, none of the notes sound significantly more conclusive than the others, ...
... Russell’s discovery of the Lydian mode’s relationship to its tonic triad was crucial to his Concept, for he had found a scale that truly captured the sound of the major chord. When the Lydian scale is played over its tonic triad, none of the notes sound significantly more conclusive than the others, ...
Unraveling Ravel - Macro Analysis Creative Research Organization
... different ways depending on which pitch is considered to be the root. One solution is to assume that many extended chords will be used in root position and to pay special attention to the pitches in the bass of the chord. Extended chords are traditionally most often found in root position because th ...
... different ways depending on which pitch is considered to be the root. One solution is to assume that many extended chords will be used in root position and to pay special attention to the pitches in the bass of the chord. Extended chords are traditionally most often found in root position because th ...
Review of Music Rudiments
... White key mode from C to C Major Scales use this succession of Tones and Semitones starting on any pitch For Example: D Major = D, E, F#, G, A, B, C#. Key of D Major - uses this scale melodically F Major: F, G, A, Bb, C, D, E. Key of F Major uses this scale melodically Notice how in both s ...
... White key mode from C to C Major Scales use this succession of Tones and Semitones starting on any pitch For Example: D Major = D, E, F#, G, A, B, C#. Key of D Major - uses this scale melodically F Major: F, G, A, Bb, C, D, E. Key of F Major uses this scale melodically Notice how in both s ...
Playing Musical Tiles - SJU
... symbols •, 2, ◦, and △ indicate, respectively, the T-classes of the major triad h0, 4, 7i, minor triad h0, 3, 7i, diminished triad h0, 3, 6i, and augmented triad h0, 4, 8i and their equivalents under permutation. In addition, the long arrow indicates the projection of Vers le blanc. Note that this p ...
... symbols •, 2, ◦, and △ indicate, respectively, the T-classes of the major triad h0, 4, 7i, minor triad h0, 3, 7i, diminished triad h0, 3, 6i, and augmented triad h0, 4, 8i and their equivalents under permutation. In addition, the long arrow indicates the projection of Vers le blanc. Note that this p ...
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.