The Line of Fifths
... important. Treating the line-of-fifths space as absolute would assume listeners with perfect (absolute) pitch. If we treat the space as relative, moreover, this means that a representation of a piece in C major is really no different from the same representation shifted over by twelve steps. This vi ...
... important. Treating the line-of-fifths space as absolute would assume listeners with perfect (absolute) pitch. If we treat the space as relative, moreover, this means that a representation of a piece in C major is really no different from the same representation shifted over by twelve steps. This vi ...
Comparison of Interval Size in Equal Temperament and Just Tuning
... 2. A second player uses a tuner to adjust the upper note of the Equal Tempered interval (half step, whole step, etc.) up or down by the number of cents indicated in the “Difference” column. A pure beatless Just interval will result. For example: to play a Just tuned major third above C, look in the ...
... 2. A second player uses a tuner to adjust the upper note of the Equal Tempered interval (half step, whole step, etc.) up or down by the number of cents indicated in the “Difference” column. A pure beatless Just interval will result. For example: to play a Just tuned major third above C, look in the ...
Carl Nielsen Studies V - Svend Hvidtfelt Nielsen
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
Two Chinese Contemporary piano works "Combination of Long and
... such as a three-measure length, same articulation and a sudden change of meter. The frequently appearing pitch D-natural and its leading tone C-sharps help the modulation to the new tonal center. Starting from measure 32, the composer uses fragmentation and acceleration techniques to develop the seq ...
... such as a three-measure length, same articulation and a sudden change of meter. The frequently appearing pitch D-natural and its leading tone C-sharps help the modulation to the new tonal center. Starting from measure 32, the composer uses fragmentation and acceleration techniques to develop the seq ...
Alternative Neo-Riemannian Approaches to Carl Nielsen
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
... same position category. The basic pattern of the regular cadence consists of a chord sequence whose fundamentals are analogous to a row of descending pure fifths; tonic, T, correspond to first position category, D the second, the dominants dominant, DD, to the third, the dominant of DD correspond to t ...
Miriam Makeba in Guinea -‐ Deterritorializing History Through Music
... others. 2 The formalistic methods of analysis have been complemented with semiotic and cultural readings, and post-‐structuralist ideas have affected the discipline tremendously, albeit with a certai ...
... others. 2 The formalistic methods of analysis have been complemented with semiotic and cultural readings, and post-‐structuralist ideas have affected the discipline tremendously, albeit with a certai ...
43. Leonard Bernstein On the Waterfront: Symphonic
... fugal theme, accompanying an alto sax solo c. Bars 54-62: new 2-bar riff in the timpani and lower strings, based on the fifth and sixth bar of the fugal theme. Above this the woodwind and trumpet play a fortissimo version of the saxophone solo theme. ...
... fugal theme, accompanying an alto sax solo c. Bars 54-62: new 2-bar riff in the timpani and lower strings, based on the fifth and sixth bar of the fugal theme. Above this the woodwind and trumpet play a fortissimo version of the saxophone solo theme. ...
Triads, 7th chords, the roman numeral harmony system, inversions
... sounding together. Most western classical, pop, jazz and folk music is based off of this kind of harmony. In recalling the issues of continuity and cohesion, it is worth noting that a big point has been made to understand triads as chords in a diatonic system, meaning that a particular group of tria ...
... sounding together. Most western classical, pop, jazz and folk music is based off of this kind of harmony. In recalling the issues of continuity and cohesion, it is worth noting that a big point has been made to understand triads as chords in a diatonic system, meaning that a particular group of tria ...
0 - Squarespace
... 3. Write the given note 's enharmonic in the space provided. Can you do it without looking at the piano keyboard? .i) C#= - - - ...
... 3. Write the given note 's enharmonic in the space provided. Can you do it without looking at the piano keyboard? .i) C#= - - - ...
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 ...
File - Paul Sarasien
... rules of the exposition of a sonata. The primary theme is not very long and stays in the same key, ending in a cadence. The transition changes to the secondary key, and the secondary theme closes in a perfect authentic cadence in the secondary key. It is slightly odd that the secondary key goes bet ...
... rules of the exposition of a sonata. The primary theme is not very long and stays in the same key, ending in a cadence. The transition changes to the secondary key, and the secondary theme closes in a perfect authentic cadence in the secondary key. It is slightly odd that the secondary key goes bet ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
... the problematic status of the intervallic step between the chordal seventh and root, contravening triadic tonality’s clear systemic distinction between the roles of steps (voice leading) and skips/leaps (arpeggiation). Schenker’s normative view, of course, was that the seventh chord is not an indepe ...
... the problematic status of the intervallic step between the chordal seventh and root, contravening triadic tonality’s clear systemic distinction between the roles of steps (voice leading) and skips/leaps (arpeggiation). Schenker’s normative view, of course, was that the seventh chord is not an indepe ...
A major triad (C or CM) uses the first (root), 3rd, and 5th of a major
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
... A major 9th chord (C9) is made up of a major 7th chord plus the interval of a 9th. The 9th tone is one whole step above the octave and is the same as the 2nd scale degree. (In the C major scale, the 9th is D.) Note: the root is often not played in a Major 9th chord. (1)-3-5-7-9 A minor 9th chord (C ...
Stravinsky and the Octatonic: A Reconsideration
... 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 their sleeves. It is perhaps for this reason that the scales appear less frequently in Stravinsky’s later music. Indeed, as we ...
... 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 their sleeves. It is perhaps for this reason that the scales appear less frequently in Stravinsky’s later music. Indeed, as we ...
McCarter Theater Presents Christian Tetzlaff, Violin Lars Vogt, Piano
... measures. The instruments then trade places, as the melody is repeated by the violin. A short, energetic transition passage now leads to the song-derived second subject. Out of its final phrase emerges a third idea, surprisingly heroic in character and marked by pairs of repeated notes and brief tri ...
... measures. The instruments then trade places, as the melody is repeated by the violin. A short, energetic transition passage now leads to the song-derived second subject. Out of its final phrase emerges a third idea, surprisingly heroic in character and marked by pairs of repeated notes and brief tri ...
FREE Sample Here - We can offer most test bank and
... and bad sounds. They need to realize that dissonance provides momentum while consonance gives a sense of rest. The manner in which a composer treats these two opposing sounds often provides a clue to his or her musical style. Schubert’s Erlkönig (The Elf King) (CD 3/14) offers a contrast between cho ...
... and bad sounds. They need to realize that dissonance provides momentum while consonance gives a sense of rest. The manner in which a composer treats these two opposing sounds often provides a clue to his or her musical style. Schubert’s Erlkönig (The Elf King) (CD 3/14) offers a contrast between cho ...
Qualia as intervening variables in the understanding of music cognition
... often for melodies make use of just 7 of those 12 pitch classes (“do–re– mi–fa–sol–la–ti”). The other 5 pitch classes are excluded from that scale, and from the key (the tonality) it represents. That contrast between the 7 pitches in a key and the 5 pitches outside the key is a very strong one, and ...
... often for melodies make use of just 7 of those 12 pitch classes (“do–re– mi–fa–sol–la–ti”). The other 5 pitch classes are excluded from that scale, and from the key (the tonality) it represents. That contrast between the 7 pitches in a key and the 5 pitches outside the key is a very strong one, and ...
FREE Sample Here
... and bad sounds. They need to realize that dissonance provides momentum while consonance gives a sense of rest. The manner in which a composer treats these two opposing sounds often provides a clue to his or her musical style. Schubert’s Erlkönig (The Elf King) (CD 3/14) offers a contrast between cho ...
... and bad sounds. They need to realize that dissonance provides momentum while consonance gives a sense of rest. The manner in which a composer treats these two opposing sounds often provides a clue to his or her musical style. Schubert’s Erlkönig (The Elf King) (CD 3/14) offers a contrast between cho ...
The Establishment of Equal Temperament
... Pythagoras’s tuning system was used well into the fifteenth century. It was not until the Renaissance period that it first began to bear scrutiny. Thirds became a new defining harmonic characteristic of this period. Under Pythagoras’s method, the major third had a ratio of 81:64, resulting in what i ...
... Pythagoras’s tuning system was used well into the fifteenth century. It was not until the Renaissance period that it first began to bear scrutiny. Thirds became a new defining harmonic characteristic of this period. Under Pythagoras’s method, the major third had a ratio of 81:64, resulting in what i ...
Non-Harmonic Tones Harmonic Tones
... Guide to NonNon-Harmonic Tones Have you ever looked at music and wondered why there may be notes which don’t appear to belong to a chord? Notes that are not part of a chord are called Non-Harmonic Tones and are usually found melodically between two harmonic tones (notes that belong to a chord). Mos ...
... Guide to NonNon-Harmonic Tones Have you ever looked at music and wondered why there may be notes which don’t appear to belong to a chord? Notes that are not part of a chord are called Non-Harmonic Tones and are usually found melodically between two harmonic tones (notes that belong to a chord). Mos ...
melody - Test Bank 1
... Select the term that fits the description. Terms may be used more than once. ...
... Select the term that fits the description. Terms may be used more than once. ...
Chapter 6 Natural Minor Scales and Minor Key Signatures
... •The Christmas Carol, “We Three Kings” is in a minor key and its notes are taken from a minor scale. Music in minor keys often seems darker, more serious or more exotic than music in major keys. • There are three minor scales: natural, harmonic and melodic. • All three minor scales have the same pat ...
... •The Christmas Carol, “We Three Kings” is in a minor key and its notes are taken from a minor scale. Music in minor keys often seems darker, more serious or more exotic than music in major keys. • There are three minor scales: natural, harmonic and melodic. • All three minor scales have the same pat ...
Using an Evolutionary Algorithm to Generate Four-Part
... our fitness function penalizes the following items: (1) parallel 5ths; (2) parallel unisons or octaves; (3) voice “leap” greater than one octave; (4) improper resolution of a large leap; and (5) overlapping voices. Voice leading fitness is also rewarded for correct resolution of voice leaps. Thus th ...
... our fitness function penalizes the following items: (1) parallel 5ths; (2) parallel unisons or octaves; (3) voice “leap” greater than one octave; (4) improper resolution of a large leap; and (5) overlapping voices. Voice leading fitness is also rewarded for correct resolution of voice leaps. Thus th ...
(pdf)
... GIS of Z7 does not represent the chromatic intervals, but the number of scale steps between two notes. 4. The Generalized Tonnetz In this section we will introduce the generalized Tonnetz. Definition 4.1. Let G0 = (S, G, int∗ ) be a commutative GIS and assume that the group G is generated by a finit ...
... GIS of Z7 does not represent the chromatic intervals, but the number of scale steps between two notes. 4. The Generalized Tonnetz In this section we will introduce the generalized Tonnetz. Definition 4.1. Let G0 = (S, G, int∗ ) be a commutative GIS and assume that the group G is generated by a finit ...
Traditional sub-Saharan African harmony
Sub-Saharan harmony is based on the principles of homophonic parallelism (similar chords changing simultaneously), homophonic polyphony (independent parts moving together), counter melody (secondary melody) and ostinato-variation (variations based on a repeated theme). Polyphony (contrapuntal and ostinato variation) is common in African music and heterophony (the voices move at different times) is a common technique as well. Although these principles of traditional (precolonial and pre-Arab) African music are of pan-African validity, the degree to which they are used in one area over another (or in the same community) varies. Specific techniques that used to generate harmony in Africa are the ""span process"", ""pedal notes"" (a held note, typically in the bass, around which other parts move), ""Rhythmic harmony"", ""harmony by imitation"", and ""scalar clusters"" (see below for explanation of these terms).