Seeing Music, Hearing Waves - Illuminations
... standard pitch. Then, you will experiment with different combinations of notes and related sine waves to observe why some combinations of musical notes sound harmonious and others have a dissonance. When you check out note combinations, you will listen to those combinations played on a keyboard to a ...
... standard pitch. Then, you will experiment with different combinations of notes and related sine waves to observe why some combinations of musical notes sound harmonious and others have a dissonance. When you check out note combinations, you will listen to those combinations played on a keyboard to a ...
Establishing the Elements of Music Groundwork
... The reason why we see 13 notes is because the scale returns to C at the beginning of the next cycle then another cycle at a higher range. In reality, there are only 12 unique notes, or pitches. The cycle allows me to introduce the concept of an octave. An octave is defined as and interval that is th ...
... The reason why we see 13 notes is because the scale returns to C at the beginning of the next cycle then another cycle at a higher range. In reality, there are only 12 unique notes, or pitches. The cycle allows me to introduce the concept of an octave. An octave is defined as and interval that is th ...
Establishing the Elements of Music Groundwork
... The reason why we see 13 notes is because the scale returns to C at the beginning of the next cycle then another cycle at a higher range. In reality, there are only 12 unique notes, or pitches. The cycle allows me to introduce the concept of an octave. An octave is defined as and interval that is th ...
... The reason why we see 13 notes is because the scale returns to C at the beginning of the next cycle then another cycle at a higher range. In reality, there are only 12 unique notes, or pitches. The cycle allows me to introduce the concept of an octave. An octave is defined as and interval that is th ...
MTO 18.2: Sly, Review of Damschroder
... almost surely be lost on conventional analysis, making Damschroder’s method all the more penetrating. [5] In the book’s preface, Damschroder calls for the general adoption of this new approach to harmony in the undergraduate classroom, appealing to our “pedagogical branch to develop the resources to ...
... almost surely be lost on conventional analysis, making Damschroder’s method all the more penetrating. [5] In the book’s preface, Damschroder calls for the general adoption of this new approach to harmony in the undergraduate classroom, appealing to our “pedagogical branch to develop the resources to ...
1 - State Examination Commission
... dance fairly well maintained. Good adherence to given structure. A fair sense of shape and some awareness of balance between phrases. Good attempt at maintaining dance rhythm. Reasonable sense of technical knowledge. Fair adherence to given structure. Some melodic and rhythmic interest. Little sense ...
... dance fairly well maintained. Good adherence to given structure. A fair sense of shape and some awareness of balance between phrases. Good attempt at maintaining dance rhythm. Reasonable sense of technical knowledge. Fair adherence to given structure. Some melodic and rhythmic interest. Little sense ...
Harmonic Techniques in Maurice Ravel`s Opera L
... interpret this note as the minor seventh (or ♭7) of G. This scale degree most closely approximates one of the melodic inflections common to American jazz, which frequently makes use of the Mixolydian mode. Because Ravel avoids the explicit dissonance of the F♮ and the F♯, one could likewise interpre ...
... interpret this note as the minor seventh (or ♭7) of G. This scale degree most closely approximates one of the melodic inflections common to American jazz, which frequently makes use of the Mixolydian mode. Because Ravel avoids the explicit dissonance of the F♮ and the F♯, one could likewise interpre ...
More than noise - Cambridge University Press
... plucks the string that matches the key, creating a sound, and then comes back down without touching the string. When the key comes to rest, the string’s vibrations are muffled by a piece of felt on top of the jack, called the damper. Each string in a harpsichord is wound around a tuning pin. When ro ...
... plucks the string that matches the key, creating a sound, and then comes back down without touching the string. When the key comes to rest, the string’s vibrations are muffled by a piece of felt on top of the jack, called the damper. Each string in a harpsichord is wound around a tuning pin. When ro ...
Minor Scales
... lower it. These last two can apply to any scale degree, but least commonly with the perfect intervals. ...
... lower it. These last two can apply to any scale degree, but least commonly with the perfect intervals. ...
The Octatonic Scale Description, History, Application
... the mode 2 octatonic is created. By falling backwards by half-step into each note of a diminished seventh chord, the mode 1 octatonic is created. This implies that much of the early use of the octatonic comes from keyboard practice, as the tendency to embellish a melody shape by half step is a natur ...
... the mode 2 octatonic is created. By falling backwards by half-step into each note of a diminished seventh chord, the mode 1 octatonic is created. This implies that much of the early use of the octatonic comes from keyboard practice, as the tendency to embellish a melody shape by half step is a natur ...
Fundamentals of Music G9-12
... Unit 1: Properties of Sound-Basic Notation Why Is This Unit Important? Sound is created when an object vibrates. These vibrations are received by our ears and then sent to our brain. Our brain, in turn, analyzes these signals and lets us know what type of sound we are hearing. Music is differentiate ...
... Unit 1: Properties of Sound-Basic Notation Why Is This Unit Important? Sound is created when an object vibrates. These vibrations are received by our ears and then sent to our brain. Our brain, in turn, analyzes these signals and lets us know what type of sound we are hearing. Music is differentiate ...
Seventh Chords
... With the exception of the anticipation and the escape tone, DO NOT add non harmonic tones to the soprano line. PARTWRITING EXERCISE CHAPTER 14 Partwrite the following exercises using all the nonharmonic tones: ...
... With the exception of the anticipation and the escape tone, DO NOT add non harmonic tones to the soprano line. PARTWRITING EXERCISE CHAPTER 14 Partwrite the following exercises using all the nonharmonic tones: ...
MUSIC THEORY BASIC Jonathan Harnum HOW TO READ, WRITE, AND
... divisi, div. (It): Indication for separate parts written on one staff. To be played by two or more performers. do: The first note (tonic) of a diatonic scale. dodecaphonic: Twelve-tone music. doit: A jazz technique used on brass instruments where a note is bent upwards. dominant: Fifth degree of a m ...
... divisi, div. (It): Indication for separate parts written on one staff. To be played by two or more performers. do: The first note (tonic) of a diatonic scale. dodecaphonic: Twelve-tone music. doit: A jazz technique used on brass instruments where a note is bent upwards. dominant: Fifth degree of a m ...
NCEA Level 3 Making Music (90777) 2012 Assessment
... much faster Other responses possible, but must include detail (c) Extract 3 There are four contours, and 17 pitches to transcribe. ...
... much faster Other responses possible, but must include detail (c) Extract 3 There are four contours, and 17 pitches to transcribe. ...
Evolution and Structure in Flamenco Harmony
... with distinctive features reflecting Arab influence. Western-style tonic-subdominant-dominant chord relations do occur in various contexts in several of the cantes. Secondary dominants are even more common. Most of the cantes, however, are based on a distinct scheme for which no single term exists. ...
... with distinctive features reflecting Arab influence. Western-style tonic-subdominant-dominant chord relations do occur in various contexts in several of the cantes. Secondary dominants are even more common. Most of the cantes, however, are based on a distinct scheme for which no single term exists. ...
The Geometry of Musical Chords Eric Thul Dr. Godfried Toussaint COMP644
... voices, we must take care at the choices of each transition. This was also present in the example of two voices, but with four voices, the idea stands out. This presents an important topic which is the basis for our discussion here today: voice leading. We can define voice leading to be the intera ...
... voices, we must take care at the choices of each transition. This was also present in the example of two voices, but with four voices, the idea stands out. This presents an important topic which is the basis for our discussion here today: voice leading. We can define voice leading to be the intera ...
Contrapuntal Techniques in Schoenberg`s Fourth String
... four three-note cells are stacked vertically, Schoenberg completes the rows on beats “1” and “3” as well as a complete horizontal I7 in Violin I. Since the rhythm is consistent throughout the four beats, the canon is always in note-to-note, or first species, counterpoint. The intervals created betwe ...
... four three-note cells are stacked vertically, Schoenberg completes the rows on beats “1” and “3” as well as a complete horizontal I7 in Violin I. Since the rhythm is consistent throughout the four beats, the canon is always in note-to-note, or first species, counterpoint. The intervals created betwe ...
Major and Minor Pentatonic Scales
... Major and Minor Pentatonic Scales The word "pentatonic" comes from the Greek word pente meaning five and tonic meaning tone. Pentatonic scales are the staple of rock music and are used across the world in jazz, blues, country and bluegrass as well as West African music, African-American spirituals a ...
... Major and Minor Pentatonic Scales The word "pentatonic" comes from the Greek word pente meaning five and tonic meaning tone. Pentatonic scales are the staple of rock music and are used across the world in jazz, blues, country and bluegrass as well as West African music, African-American spirituals a ...
AP Music Theory - Somerset Academy
... minor scales – like a major scale with a lowered, 3rd, 6th, and 7th degree Harmonic Minor scale – thought of as a major scale with a lowered 3rd and 6th degree Melodic minor scale – ascending form is like a major scale with a lowered 3rd degree, the descending form is the same as the natural min ...
... minor scales – like a major scale with a lowered, 3rd, 6th, and 7th degree Harmonic Minor scale – thought of as a major scale with a lowered 3rd and 6th degree Melodic minor scale – ascending form is like a major scale with a lowered 3rd degree, the descending form is the same as the natural min ...
Analysis And Impact Of Selected Compositions That
... preparing the dissonant D4 which is resolved by descending down by step to a . This would be an example of a traditionally composed suspension between these two voices. One of the most important aspects of this example is that Monteverdi is able to execute these dissonances and still have the mus ...
... preparing the dissonant D4 which is resolved by descending down by step to a . This would be an example of a traditionally composed suspension between these two voices. One of the most important aspects of this example is that Monteverdi is able to execute these dissonances and still have the mus ...
12 Music Hacks
... Theory! Scary, huh? As a music lecturer, I discovered that this six-letter ‘dirty word’ always caused an impressive array of strong reactions from my new firstyear students. No other word can end the party quicker than this one. Students react in a variety of ways to this word: first, there are the ...
... Theory! Scary, huh? As a music lecturer, I discovered that this six-letter ‘dirty word’ always caused an impressive array of strong reactions from my new firstyear students. No other word can end the party quicker than this one. Students react in a variety of ways to this word: first, there are the ...
File
... minor scales – like a major scale with a lowered, 3rd, 6th, and 7th degree Harmonic Minor scale – thought of as a major scale with a lowered 3rd and 6th degree Melodic minor scale – ascending form is like a major scale with a lowered 3rd degree, the descending form is the same as the natural min ...
... minor scales – like a major scale with a lowered, 3rd, 6th, and 7th degree Harmonic Minor scale – thought of as a major scale with a lowered 3rd and 6th degree Melodic minor scale – ascending form is like a major scale with a lowered 3rd degree, the descending form is the same as the natural min ...
Test Review - The OCD Musician
... 40. The term musical ______________ (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections, "a series of strategies designed to find a successful mean between the opposite extremes of unrelieved rep ...
... 40. The term musical ______________ (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections, "a series of strategies designed to find a successful mean between the opposite extremes of unrelieved rep ...
"Off the Record: Performing Practices in Romantic Piano Playing" by
... rhythmic pattern long-short-short-long. Beethoven subsequently exploits yet another such motivic reinterpretation in m. 21, when the opening motive, which was initially played in a slow largo tempo, is hammered out on the tonic D minor in the swift allegro tempo. Such examples alert us to the specia ...
... rhythmic pattern long-short-short-long. Beethoven subsequently exploits yet another such motivic reinterpretation in m. 21, when the opening motive, which was initially played in a slow largo tempo, is hammered out on the tonic D minor in the swift allegro tempo. Such examples alert us to the specia ...
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.