dotted eighth notes - Introduction to Music Theory
... Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
... Minor, augmented, and diminished intervals are always chromatic intervals in all major keys. ...
Music Terms and Symbols Music Terms and Symbols
... many notes. If no key signature appears, the key is assumed to be C major/A minor, but can also signify a neutral key, employing individual accidentals as required for each note. The key signature examples shown here are described as they would appear on a treble staff. Flat key signature Lowers by ...
... many notes. If no key signature appears, the key is assumed to be C major/A minor, but can also signify a neutral key, employing individual accidentals as required for each note. The key signature examples shown here are described as they would appear on a treble staff. Flat key signature Lowers by ...
ANP_Paper3_MathofMusic
... Deriving the Minor Scales We know that a Major scale consists of three interlocking Major triads. With the introduction of the Minor triad, there are now many ways to interlock Major and Minor triads to create different types of Minor scales. The Natural Minor scale, for instance, is constructed in ...
... Deriving the Minor Scales We know that a Major scale consists of three interlocking Major triads. With the introduction of the Minor triad, there are now many ways to interlock Major and Minor triads to create different types of Minor scales. The Natural Minor scale, for instance, is constructed in ...
Musical Scales and Tonality - University of Toronto Scarborough
... • Musical cultures make use of variation in pitch • Use tones of low to high frequency, and combine them in various ways • Pitch and frequency are continuous scales • Yet musical cultures use discrete pitches • Use of discrete pitches, as opposed to continuously varying pitches, a universal • Althou ...
... • Musical cultures make use of variation in pitch • Use tones of low to high frequency, and combine them in various ways • Pitch and frequency are continuous scales • Yet musical cultures use discrete pitches • Use of discrete pitches, as opposed to continuously varying pitches, a universal • Althou ...
Music 11, 7/10/06 Scales/Intervals We already know half steps and
... We already know half steps and whole steps (semitones and tones). We call these “seconds.” Adjacent pitch names are always called seconds, but because the space between adjacent pitch names can vary, there are different types of second: Major second (M2) = whole step = whole tone Minor second (m2) = ...
... We already know half steps and whole steps (semitones and tones). We call these “seconds.” Adjacent pitch names are always called seconds, but because the space between adjacent pitch names can vary, there are different types of second: Major second (M2) = whole step = whole tone Minor second (m2) = ...
Texture and Melody
... two notes are recognisable as part of the chord of C major ! To smooth out the melodic line between these notes, the note D might be added in between them ! This note does not belong to ...
... two notes are recognisable as part of the chord of C major ! To smooth out the melodic line between these notes, the note D might be added in between them ! This note does not belong to ...
Pop Song Project
... You should always listen back to your piece to ensure that you like how it sounds. Play your work to your classmates to evaluate your work. If you hear any clashes between parts, check that there are no vertical clashes between the melody and the counter-melody. You cannot harmonise with two letter ...
... You should always listen back to your piece to ensure that you like how it sounds. Play your work to your classmates to evaluate your work. If you hear any clashes between parts, check that there are no vertical clashes between the melody and the counter-melody. You cannot harmonise with two letter ...
Non-Chord Tones
... by step in the same direction. • Neighboring tone (n)- Approached by step and left by step in the opposite direction. • Suspension (s)- Approached by same tone and left by a step down. • Retardation (r)- Approached by the same tone and left by a step up. ...
... by step in the same direction. • Neighboring tone (n)- Approached by step and left by step in the opposite direction. • Suspension (s)- Approached by same tone and left by a step down. • Retardation (r)- Approached by the same tone and left by a step up. ...
Untitled document.docx
... Explain how three composers of the romantic era used programme music to great effect, referring to tonality and expressive use of resources. In Berlioz’s Symphonie Fantastique, the composer uses tonality for expressive purposes, to describe the many disturbing visions of an infatuated artist. The fi ...
... Explain how three composers of the romantic era used programme music to great effect, referring to tonality and expressive use of resources. In Berlioz’s Symphonie Fantastique, the composer uses tonality for expressive purposes, to describe the many disturbing visions of an infatuated artist. The fi ...
Using an Evolutionary Algorithm to Generate Four-Part
... allowable pitches. Each time a chord contains an improper pitch, the chorale is penalized. However, even when chord pitches are technically “correct” given a figured Bass progression, they may violate established rules of voice leading. Each chord can consist of 3 or 4 distinct pitches. However, the ...
... allowable pitches. Each time a chord contains an improper pitch, the chorale is penalized. However, even when chord pitches are technically “correct” given a figured Bass progression, they may violate established rules of voice leading. Each chord can consist of 3 or 4 distinct pitches. However, the ...
Ben Johnston Pantonality Generalized
... their deliberate blurriness. By allowing pitches of flexible instruments to drift around by about a comma (1/8 tone) while nominally distinguishing spelling, 12 inflected tones could suffice to approximate 24 major and minor modes. Musicians were expected to understand and apply subtleties of intona ...
... their deliberate blurriness. By allowing pitches of flexible instruments to drift around by about a comma (1/8 tone) while nominally distinguishing spelling, 12 inflected tones could suffice to approximate 24 major and minor modes. Musicians were expected to understand and apply subtleties of intona ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
... Goldenberg is the latest of many to weigh in on the subject. Within the Schenkerian tradition, we find represented a myriad of viewpoints on and interpretations of Schenker’s own stance (more on this below). Outside of the tradition (perhaps, more accurately, inhabiting an extended offshoot from it) ...
... Goldenberg is the latest of many to weigh in on the subject. Within the Schenkerian tradition, we find represented a myriad of viewpoints on and interpretations of Schenker’s own stance (more on this below). Outside of the tradition (perhaps, more accurately, inhabiting an extended offshoot from it) ...
Music Fundamentals – Quiz 1 Review Pitch and Intervals Identify the
... Identify each diatonic interval with its proper abbreviation and indicate the number of half steps it contains. The first group of simple intervals includes only 2nds, 3rds, perfect 4ths and 5ths, and tritones; be sure to distinguish between the two sizes of intervals, i.e., m2 and M2 or a P4 versus ...
... Identify each diatonic interval with its proper abbreviation and indicate the number of half steps it contains. The first group of simple intervals includes only 2nds, 3rds, perfect 4ths and 5ths, and tritones; be sure to distinguish between the two sizes of intervals, i.e., m2 and M2 or a P4 versus ...
Picture - Gryffe Music
... Returning passage. In a Concerto Grosso it is the main theme played by the orchestra. ...
... Returning passage. In a Concerto Grosso it is the main theme played by the orchestra. ...
TAVENER The Lamb - davenantperformingarts
... sung by the full choir in octaves giving weight to the instructional tone of the words (‘Little Lamb, I’ll tell thee’) Octaves appear for the monophonic statement of br13-14, while pairs of voices in octaves (sop/tenor and alto/bass) are used instead of just sopranos and altos in br12 and 15-16 The ...
... sung by the full choir in octaves giving weight to the instructional tone of the words (‘Little Lamb, I’ll tell thee’) Octaves appear for the monophonic statement of br13-14, while pairs of voices in octaves (sop/tenor and alto/bass) are used instead of just sopranos and altos in br12 and 15-16 The ...
AP® Music Theory 2012 Scoring Guidelines
... Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps mo ...
... Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps mo ...
Three Conceptions of Musical Distance
... inversions with which they share common notes.10 It follows that proximity on a tuning lattice will indicate the potential for efficient voice leading when the chords in question are nearly even and are related by inversion. Thus {C, G} and {G, D} can be linked by the stepwise voice leading (C, G)( ...
... inversions with which they share common notes.10 It follows that proximity on a tuning lattice will indicate the potential for efficient voice leading when the chords in question are nearly even and are related by inversion. Thus {C, G} and {G, D} can be linked by the stepwise voice leading (C, G)( ...
Pitch - AceHSC
... Performing techniques - Specific techniques used to create effects in instruments or voices? Contrast of mood and sound ...
... Performing techniques - Specific techniques used to create effects in instruments or voices? Contrast of mood and sound ...
The Triad in First Inversion: Tonic, Subdominant, and Dominant Triads
... inversion of a triad is 6/3. Under normal conditions, the 3 is omitted. ...
... inversion of a triad is 6/3. Under normal conditions, the 3 is omitted. ...
... combinations of triads and sevenths. For example, you could write an augmented triad with a major or minor seventh, or a minor triad with a major seventh. Although these seventh chords are not found in common-practice tonal music, they add harmonic richness in some styles of jazz as substitutes for ...
2015 Chorus Midterm Review Sheet
... between one and two, three and four, four and five, six and seven, and seven and eight and in which half steps occur between two and three and five and six. In solfege, it is la based. natural sign – sign used to cancel a sharp or flat note – the symbol used to express pitch and its duration octave ...
... between one and two, three and four, four and five, six and seven, and seven and eight and in which half steps occur between two and three and five and six. In solfege, it is la based. natural sign – sign used to cancel a sharp or flat note – the symbol used to express pitch and its duration octave ...
Document
... sounds consonant (and has been the foundation of western music for several hundred years), and we measure the string lengths required for this triad. We find (demo) that the string lengths have ratios 6:5:4 for the sequence CEG. ...
... sounds consonant (and has been the foundation of western music for several hundred years), and we measure the string lengths required for this triad. We find (demo) that the string lengths have ratios 6:5:4 for the sequence CEG. ...
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.