Lesson_LLL_-_Mixture..
... In m. 25, notice that scale degree 3 has been lowered from D# to D§. Instead of a I chord (B major), a i chord (B minor) appears there. The effect is striking. Why would Schubert make such an alteration at this point? Looking at the text of the song, we find the narrator speaking to a brook that led ...
... In m. 25, notice that scale degree 3 has been lowered from D# to D§. Instead of a I chord (B major), a i chord (B minor) appears there. The effect is striking. Why would Schubert make such an alteration at this point? Looking at the text of the song, we find the narrator speaking to a brook that led ...
Major and minor music compared to excited and subdued speech
... scale degree. Two also substitute a minor interval at the sixth scale degree, and one a minor interval at the seventh scale degree 共the melodic minor scale is shown ascending; when descending it is identical to the natural minor兲. Thus the formal differences between the major and minor scales are in ...
... scale degree. Two also substitute a minor interval at the sixth scale degree, and one a minor interval at the seventh scale degree 共the melodic minor scale is shown ascending; when descending it is identical to the natural minor兲. Thus the formal differences between the major and minor scales are in ...
The figures of Musica poetica in Buxtehude`s Passacaglia in D minor
... and rhetoric, and the quadrivium, made up essentially of mathematical disciplines, arithmetic, astronomy, geometry, and music. This basic academic configuration continued well into the eighteenth century. While music was originally in the category of mathematics, through the centuries, theorists, co ...
... and rhetoric, and the quadrivium, made up essentially of mathematical disciplines, arithmetic, astronomy, geometry, and music. This basic academic configuration continued well into the eighteenth century. While music was originally in the category of mathematics, through the centuries, theorists, co ...
The Understanding of Music - Cuyahoga Falls City School District
... might be curious about his move to this job. After all, in the age of absolute monarchies, the best-paying and most prestigious positions were in the royal courts. Bach undertook this position because he was deeply religious and it allowed him to focus on sacred music. Secondly, he moved for the sam ...
... might be curious about his move to this job. After all, in the age of absolute monarchies, the best-paying and most prestigious positions were in the royal courts. Bach undertook this position because he was deeply religious and it allowed him to focus on sacred music. Secondly, he moved for the sam ...
please - Bay Area Music Association
... quality, augmented & diminished on any note Have to be able to use any rhythm combinations Music History ...
... quality, augmented & diminished on any note Have to be able to use any rhythm combinations Music History ...
Jazz Scale Theory - mo` better blues
... It also does not include extensive practice exercises, though there are some suggested practice methods mentioned in passing throughout and summarized at the conclusion. It is intended to be a thorough examination of the application of some key scales and modes as they are applied in the process of ...
... It also does not include extensive practice exercises, though there are some suggested practice methods mentioned in passing throughout and summarized at the conclusion. It is intended to be a thorough examination of the application of some key scales and modes as they are applied in the process of ...
Mah Nishtanah
... European Cheder, and reviewed by younger students every year before Pesach. As with almost everything learned in the Cheder, it was chanted in one of the "study modes," in this case the questionand-answer talmudic chant marked by reciting tones on the open 5th (a 5th without the intervening notes so ...
... European Cheder, and reviewed by younger students every year before Pesach. As with almost everything learned in the Cheder, it was chanted in one of the "study modes," in this case the questionand-answer talmudic chant marked by reciting tones on the open 5th (a 5th without the intervening notes so ...
Half Steps and Whole Steps
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
... Listen2 to the half steps in Figure 1 (Half Steps). The intervals in Figure 1 (Half Steps) look dierent on a sta3 ; sometimes they are on the same line, sometimes not. But it is clear at the keyboard that in each case there is no note in between them. So a scale4 that goes up or down by half steps ...
RESEARCH ARTICLE Metrics for Scales and Tunings
... continuum of tunings [1]. It is speculated that these invariances can significantly enhance the playability and flexibility of the instrument [1, 11]. (3) Only two control interfaces (such as sliders or rotary knobs) are required to change the tuning of all notes in an ordered way. This enables easi ...
... continuum of tunings [1]. It is speculated that these invariances can significantly enhance the playability and flexibility of the instrument [1, 11]. (3) Only two control interfaces (such as sliders or rotary knobs) are required to change the tuning of all notes in an ordered way. This enables easi ...
Book 3 - Advanced
... 1. Draw a blank staff and then illustrate the following :a) The treble clef and the C major scale using minims. b) Show the pattern of intervals by the use of the letters T (tone) and S (semitone) placed between each note as appropriate. c) Using brackets, show the tetrachords. 2. Draw a blank staff ...
... 1. Draw a blank staff and then illustrate the following :a) The treble clef and the C major scale using minims. b) Show the pattern of intervals by the use of the letters T (tone) and S (semitone) placed between each note as appropriate. c) Using brackets, show the tetrachords. 2. Draw a blank staff ...
The Geometry of Musical Chords Eric Thul Dr. Godfried Toussaint COMP644
... 1. Harmony: Can be thought of in the simple case as two people each singing a note, where the notes may be the same or different [11, p.55]. ...
... 1. Harmony: Can be thought of in the simple case as two people each singing a note, where the notes may be the same or different [11, p.55]. ...
Appendix I: Microtonality in 20 Century Western Art Music: A
... increasingly chromatic and key relations were treated with greater flexibility. At a time when composers pushed the boundaries of their pitch systems ever closer to an (at least theoretical) equality of all common intervals, it was a logical conclusion to consider applying intervals smaller than a s ...
... increasingly chromatic and key relations were treated with greater flexibility. At a time when composers pushed the boundaries of their pitch systems ever closer to an (at least theoretical) equality of all common intervals, it was a logical conclusion to consider applying intervals smaller than a s ...
Xenakis SymposiumConference
... and because there is no pattern discernable by a human agent does not mean that no pattern exists; it just hasn’t been uncovered yet. In any case there’s no getting round the conceptual predicament that it is a deterministic system masquerading as chance. Early random number generators used in the 1 ...
... and because there is no pattern discernable by a human agent does not mean that no pattern exists; it just hasn’t been uncovered yet. In any case there’s no getting round the conceptual predicament that it is a deterministic system masquerading as chance. Early random number generators used in the 1 ...
a comparison of the musical and scientific
... and because there is no pattern discernable by a human agent does not mean that no pattern exists; it just hasn’t been uncovered yet. In any case there’s no getting round the conceptual predicament that it is a deterministic system masquerading as chance. Early random number generators used in the 1 ...
... and because there is no pattern discernable by a human agent does not mean that no pattern exists; it just hasn’t been uncovered yet. In any case there’s no getting round the conceptual predicament that it is a deterministic system masquerading as chance. Early random number generators used in the 1 ...
Musical dramaturgy in Jeux d`eau by Maurice Ravel
... measure 48 (in fff), on a trill of chords played with both hands, followed by a glissando over the entire keyboard that fades on the piano’s lowest note – A natural. On a rapid decrescendo spanning over only three measures, the pianist will have to prepare section B’ using the attack of both his or ...
... measure 48 (in fff), on a trill of chords played with both hands, followed by a glissando over the entire keyboard that fades on the piano’s lowest note – A natural. On a rapid decrescendo spanning over only three measures, the pianist will have to prepare section B’ using the attack of both his or ...
All - Renton School District
... a. Uses and demonstrates combinations of steps, leaps, and repeated notes to create a melody. b. Differentiates aurally between same and different melodic phrases. c. Recognizes aurally and sings in appropriate vocal ranges a variety of intervals within a pentatonic scale. d. Reads and performs (by ...
... a. Uses and demonstrates combinations of steps, leaps, and repeated notes to create a melody. b. Differentiates aurally between same and different melodic phrases. c. Recognizes aurally and sings in appropriate vocal ranges a variety of intervals within a pentatonic scale. d. Reads and performs (by ...
Possible Paths - Music Theory Online
... composition (to put it mildly). They inhabit two domains: melody, in the form of recurring sequences of scale-degrees (very similar to Gjerdingen’s); and phrasing, in the form of recurring relationships between phrasing and meter. The interaction of these domains further increases Parker’s economy o ...
... composition (to put it mildly). They inhabit two domains: melody, in the form of recurring sequences of scale-degrees (very similar to Gjerdingen’s); and phrasing, in the form of recurring relationships between phrasing and meter. The interaction of these domains further increases Parker’s economy o ...
Jordan_Contra_Goudimel
... congregational singing, except for one. That one exception is that of Claude Goudimel. In fact, Goudimel wrote several harmonizations of the Genevan Psalter, but none of them for congregational use. Understand: In the churches there were no musical instruments and no harmonizations. Hence, the harmo ...
... congregational singing, except for one. That one exception is that of Claude Goudimel. In fact, Goudimel wrote several harmonizations of the Genevan Psalter, but none of them for congregational use. Understand: In the churches there were no musical instruments and no harmonizations. Hence, the harmo ...
Haydn: London Symphony, No.104 (Movement one)
... more evenly balanced and punctuated with clearly marked cadences, and the regularity and balance of phrase structures brought clarity to the music (- at times, it was the mixture of regular / irregular phrases and rhythms which brought a sense of individuality to a composer’s personal style). • Lar ...
... more evenly balanced and punctuated with clearly marked cadences, and the regularity and balance of phrase structures brought clarity to the music (- at times, it was the mixture of regular / irregular phrases and rhythms which brought a sense of individuality to a composer’s personal style). • Lar ...
Violin sound quality: can it be controlled within the parameters of
... common. One tonal feature stands out in these two violins shown in Fig.1. The harmonic structure of each tone is largely confined to a few low numbered harmonics. After these the contribution from higher numbered harmonics above the 4th harmonic is minimal. Using the summary of harmonic tonal qualit ...
... common. One tonal feature stands out in these two violins shown in Fig.1. The harmonic structure of each tone is largely confined to a few low numbered harmonics. After these the contribution from higher numbered harmonics above the 4th harmonic is minimal. Using the summary of harmonic tonal qualit ...
A propos du « mouvement musical » chez Debussy :
... A similar hesitation appears in the analysis of Sirènes published recently by Richard S. Parks who, after having also subscribed to the notion of a tripartite form,6 now proposes a division of the work into five sections: For the purpose of this analysis I have divided Sirènes into five sections, al ...
... A similar hesitation appears in the analysis of Sirènes published recently by Richard S. Parks who, after having also subscribed to the notion of a tripartite form,6 now proposes a division of the work into five sections: For the purpose of this analysis I have divided Sirènes into five sections, al ...
A Graphical Model for Chord Progressions Embedded in a Psychoacoustic Space
... of a sum in order to account for the masking effect (Moore, 1982). The quantization given by the rounding function corresponds to the fact that most of the tonal music is composed using the well-tempered tuning. For instance, the 3rd harmonic f3,i corresponds to a note which is located one perfect f ...
... of a sum in order to account for the masking effect (Moore, 1982). The quantization given by the rounding function corresponds to the fact that most of the tonal music is composed using the well-tempered tuning. For instance, the 3rd harmonic f3,i corresponds to a note which is located one perfect f ...
Introduction to Reading Music Homework 5 15-212, Fall 2006
... Key Signatures. In many pieces of music, the same set of notes is always sharpened or flattened. For example, if you look at Beethoven’s Ode to Joy all C’s and F’s in it are sharpened. Rather than writing a © sign before every C and F in the music, this is noted on the staff, right after the clef sy ...
... Key Signatures. In many pieces of music, the same set of notes is always sharpened or flattened. For example, if you look at Beethoven’s Ode to Joy all C’s and F’s in it are sharpened. Rather than writing a © sign before every C and F in the music, this is noted on the staff, right after the clef sy ...
A permutational triadic approach to jazz harmony and the chord
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
... creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations. Jazz speaks for life. The Blues tell a story of life’s difficulties, and if you think for a moment, you will rea ...
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).