Nicola Vicentino and the Enharmonic Diesis
... on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. Chapter Two explores the harmonic and voice-leading possibilities of Vicentino‟s system of 31-tone equal temperament (31-TET). I develop a system of categorizing harmonic relatio ...
... on Vicentino‟s advocacy for the use of microtonal step of the minor enharmonic diesis as a means of affective expression. Chapter Two explores the harmonic and voice-leading possibilities of Vicentino‟s system of 31-tone equal temperament (31-TET). I develop a system of categorizing harmonic relatio ...
Dissonant Harmony and “Seed-Tones”
... almost a century. Even though Rudhyar’s importance in the development of American music has been increasingly acknowledged by historians in the past two decades, his compositions have still received only the most superficial attention. Some of this neglect may result from Rudhyar's musical language ...
... almost a century. Even though Rudhyar’s importance in the development of American music has been increasingly acknowledged by historians in the past two decades, his compositions have still received only the most superficial attention. Some of this neglect may result from Rudhyar's musical language ...
scale networks and debussy
... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
... Similarly, two notes form a “scalar second” or are “separated by one scale step,” if they are adjacent in the ordering; they form a “scalar third,” or are separated by two scale steps, if they are adjacent but for one note, and so on. Note that “scales” in this sense do not have tonic notes, pitch p ...
Intonation Variables in the Performance of Twelve
... each degree of the chromatic scale. With this “enharmonium” it is possible to achieve a wide variety of reliable and accurate demonstrations and comparisons of untempered intonation.6 Measurements of String Intonation Among the earliest scientific measurements of the intonation of string players wer ...
... each degree of the chromatic scale. With this “enharmonium” it is possible to achieve a wide variety of reliable and accurate demonstrations and comparisons of untempered intonation.6 Measurements of String Intonation Among the earliest scientific measurements of the intonation of string players wer ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
... Stony Brook University (Re-typed in 2012 by Jacek Blaszkiewicz) Fétis’s Traité1 is an exposition of the “science of harmony” based on the unifying “principle of tonality” which Fétis claims to have discovered. However, he was not the first to use the term. According to Bryan Sims, “tonality” is foun ...
... Stony Brook University (Re-typed in 2012 by Jacek Blaszkiewicz) Fétis’s Traité1 is an exposition of the “science of harmony” based on the unifying “principle of tonality” which Fétis claims to have discovered. However, he was not the first to use the term. According to Bryan Sims, “tonality” is foun ...
The apparition from the forest
... For analytic purposes intervals greater than octave (compound intervals) are subtracted (e.g. an interval b2 flat/c1 is called “seventh”), unless they belong to ninth, eleventh or thirteenth chords, or are connected to them. Thus there is the possibility that an interval such as d2/c1 (c1–d2) may be ...
... For analytic purposes intervals greater than octave (compound intervals) are subtracted (e.g. an interval b2 flat/c1 is called “seventh”), unless they belong to ninth, eleventh or thirteenth chords, or are connected to them. Thus there is the possibility that an interval such as d2/c1 (c1–d2) may be ...
The Nine-Step Scale of Alexander Tcherepnin: Its Conception, Its
... formed by alternating three semitones with one semitone) and its inversion TnI such that n = any even integer. In addition, it is a repeating sequence of two semitones and one whole tone. Finally, it is the complement of the augmented triad. The presence of the scale in musical works is frequent and ...
... formed by alternating three semitones with one semitone) and its inversion TnI such that n = any even integer. In addition, it is a repeating sequence of two semitones and one whole tone. Finally, it is the complement of the augmented triad. The presence of the scale in musical works is frequent and ...
PDF - UNT Digital Library
... baritone saxophonists in recent jazz history, including Ronnie Cuber, Gary Smulyan, Scott Robinson, Glenn Wilson, and Nick Brignola. Through his associations with Benny Goodman (1958-1959), Charles Mingus (1959-1963), Donald Byrd (1958-1962), and his longtime membership in the Thad Jones/Mel Lewis O ...
... baritone saxophonists in recent jazz history, including Ronnie Cuber, Gary Smulyan, Scott Robinson, Glenn Wilson, and Nick Brignola. Through his associations with Benny Goodman (1958-1959), Charles Mingus (1959-1963), Donald Byrd (1958-1962), and his longtime membership in the Thad Jones/Mel Lewis O ...
A SYMPHONY AT SEA: TONAL ANALOGUES IN DEBUSSY`S LA MER
... These three images suit the music‘s quality of searching, tonal metamorphosis, the quality to be explored at length in this dissertation. Despite the existence of numerous previous studies of this music, the variety and indecisiveness of La mer‘s tonicities has been little examined. Nor is there an ...
... These three images suit the music‘s quality of searching, tonal metamorphosis, the quality to be explored at length in this dissertation. Despite the existence of numerous previous studies of this music, the variety and indecisiveness of La mer‘s tonicities has been little examined. Nor is there an ...
Full PDF - 2012 Book Archive
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
... 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was d ...
What Is a CadenCe?
... predictions.2 No matter what kind of music we are listening to, we have a predisposition towards expecting certain continuations of what we have heard before. In Leonard B. Meyer’s words, a given musical event “implies” another and at the same time may “realize” the implications set up by earlier ev ...
... predictions.2 No matter what kind of music we are listening to, we have a predisposition towards expecting certain continuations of what we have heard before. In Leonard B. Meyer’s words, a given musical event “implies” another and at the same time may “realize” the implications set up by earlier ev ...
Book 3 - Advanced
... a responsible attitude to learning and study which suits their particular circumstances. Study is difficult and demanding work but it can also be very enjoyable and personally rewarding as your knowledge and practical ability develop. A feature of this presentation is that students can progress thro ...
... a responsible attitude to learning and study which suits their particular circumstances. Study is difficult and demanding work but it can also be very enjoyable and personally rewarding as your knowledge and practical ability develop. A feature of this presentation is that students can progress thro ...
Understanding Basic Music Theory
... and spelling and point out the relationships between words. Those rules are only guidelines based on patterns discovered by the theoreticians, which is why there are usually plenty of "exceptions" to every rule. Attempts to develop a new language by rst inventing the grammar and spelling never seem ...
... and spelling and point out the relationships between words. Those rules are only guidelines based on patterns discovered by the theoreticians, which is why there are usually plenty of "exceptions" to every rule. Attempts to develop a new language by rst inventing the grammar and spelling never seem ...
abstract - eThesis
... Another approach has been to abide more closely by original Schenkerian notions, enriching them with some extensions and additions, such as Felix Salzer’s (1952/1982) “contrapuntal-structural tones,” “‘independent’ voice leading,” and “color chords.” In general, such analysis has been most successfu ...
... Another approach has been to abide more closely by original Schenkerian notions, enriching them with some extensions and additions, such as Felix Salzer’s (1952/1982) “contrapuntal-structural tones,” “‘independent’ voice leading,” and “color chords.” In general, such analysis has been most successfu ...
Pentatonic Scales
... • Just listen to the sound and identify the scale in songs that you like. • There are really 5 pentatonic scale forms. This makes it easy to use. • They are even used in classical music by composers such as Ravel and Debussy ...
... • Just listen to the sound and identify the scale in songs that you like. • There are really 5 pentatonic scale forms. This makes it easy to use. • They are even used in classical music by composers such as Ravel and Debussy ...
Troubles with Tonal Terminology
... poïetic and gobbledygook to those with no formal training in con‐ ventional music theory. The most disturbing symptoms of this con‐ tradiction are of course: [i] that musical analysis is more often than not absent in media education; [ii] that film directors and film com‐ posers often have diffic ...
... poïetic and gobbledygook to those with no formal training in con‐ ventional music theory. The most disturbing symptoms of this con‐ tradiction are of course: [i] that musical analysis is more often than not absent in media education; [ii] that film directors and film com‐ posers often have diffic ...
Tripod Notation article
... third. The difference is the interval I called a semitoe before. So we can say that a minor third is a semitoe smaller than a major third, a subminor third is a semitoe smaller than a minor third, and a supramajor third is a semitoe larger than a major third. Raising a supramajor third by another se ...
... third. The difference is the interval I called a semitoe before. So we can say that a minor third is a semitoe smaller than a major third, a subminor third is a semitoe smaller than a minor third, and a supramajor third is a semitoe larger than a major third. Raising a supramajor third by another se ...
Finding Alternative Musical Scales
... scale has a frequency ratio of 2(k−1)/12 with the first pitch. Table 1 shows tuning errors that result for the major diatonic scale. For example, the fifth note of the scale is slightly flat when played on a tempered scale, and the third note is sharp. None of the errors is greater than 0.9%, or abo ...
... scale has a frequency ratio of 2(k−1)/12 with the first pitch. Table 1 shows tuning errors that result for the major diatonic scale. For example, the fifth note of the scale is slightly flat when played on a tempered scale, and the third note is sharp. None of the errors is greater than 0.9%, or abo ...
Stravinsky and the Octatonic: A Reconsideration
... as well as passages that alternate between harmonic and melodic minor collections. (The harmonic minor scale is not part of my collection of four scales, but it is part of a related seven-scale collection: see p. 88 below.) In these respects, the early ballets wear their Impressionist in uences on ...
... as well as passages that alternate between harmonic and melodic minor collections. (The harmonic minor scale is not part of my collection of four scales, but it is part of a related seven-scale collection: see p. 88 below.) In these respects, the early ballets wear their Impressionist in uences on ...
Dissertation MUSI591 – 10C (HAM)
... been “vogue” for pianists to record complete sets of works — all 27 Etudes, all 24 Préludes, the four Ballades, and so forth.7 This may be the consequence of the commercialization and commodification of music, especially in the latter half of the twentieth century; it is surely easier to market a re ...
... been “vogue” for pianists to record complete sets of works — all 27 Etudes, all 24 Préludes, the four Ballades, and so forth.7 This may be the consequence of the commercialization and commodification of music, especially in the latter half of the twentieth century; it is surely easier to market a re ...
Beethoven Symphony No 1, Movements 1 and 2
... opening melody is repeated a tone higher than original (bars 19 - 23). Another two– bar woodwind link (bars 23 - 24) brings the harmony to a G7 chord (bar 25) where the rhythmic/melodic ideas from bars 14 and 15 are played twice, based on the dominant chord of G (bars 25 - 29), before a descending G ...
... opening melody is repeated a tone higher than original (bars 19 - 23). Another two– bar woodwind link (bars 23 - 24) brings the harmony to a G7 chord (bar 25) where the rhythmic/melodic ideas from bars 14 and 15 are played twice, based on the dominant chord of G (bars 25 - 29), before a descending G ...
A propos du « mouvement musical » chez Debussy :
... idiom. It is no exaggeration to say that tonality rests entirely on a specific interpretation of the tritone, the only interval of all the intervals contained in the natural heptatonic scale to occur once. The property of tonality is to hear the tritone as a dissonant interval tending to resolve chr ...
... idiom. It is no exaggeration to say that tonality rests entirely on a specific interpretation of the tritone, the only interval of all the intervals contained in the natural heptatonic scale to occur once. The property of tonality is to hear the tritone as a dissonant interval tending to resolve chr ...
A GUIDE TO PEDAGOGICAL RESOURCES FOR IMPROVISATION
... variation in tonic (Ex: C D E F G A B♭ C = Mixolydian mode; E F G A B♭ C D E = Locrian mode; F G A B♭ C D E F = Ionian mode) Nashville Number System – a type of notation in chord charts which substitutes Arabic numerals for chord letter names in order to facilitate transposition to different keys. C ...
... variation in tonic (Ex: C D E F G A B♭ C = Mixolydian mode; E F G A B♭ C D E = Locrian mode; F G A B♭ C D E F = Ionian mode) Nashville Number System – a type of notation in chord charts which substitutes Arabic numerals for chord letter names in order to facilitate transposition to different keys. C ...
The Line of Fifths
... Thus, this spelling of the events will be strongly preferred over other possible spellings. (A spelling of the entire passage in terms of the B] major scale will be equally preferred, as I shall discuss below.) If the passage contains a few `chromatic' pitches, such as A[/G] (but not enough to affec ...
... Thus, this spelling of the events will be strongly preferred over other possible spellings. (A spelling of the entire passage in terms of the B] major scale will be equally preferred, as I shall discuss below.) If the passage contains a few `chromatic' pitches, such as A[/G] (but not enough to affec ...
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.