rudiments of music
... 41. Scales may start from any note, but the use of sharps Dr fiats will be necessary in all Scales except C major, so. as to. obtain the correct order of Tones and Semitones. Majo.r and Mino.r Scales are called Diatonic because each successive note is different in name. The Chromatic Scale is so. ca ...
... 41. Scales may start from any note, but the use of sharps Dr fiats will be necessary in all Scales except C major, so. as to. obtain the correct order of Tones and Semitones. Majo.r and Mino.r Scales are called Diatonic because each successive note is different in name. The Chromatic Scale is so. ca ...
Texture - Tim Wardrop
... Homophonic texture is the most common texture type heard in music. With a melodic layer and a harmonic layer, it is the texture on which most music is based. When analysing a piece of music, listen for a homophonic texture before you try to identify a monophonic or polyphonic texture type. A homopho ...
... Homophonic texture is the most common texture type heard in music. With a melodic layer and a harmonic layer, it is the texture on which most music is based. When analysing a piece of music, listen for a homophonic texture before you try to identify a monophonic or polyphonic texture type. A homopho ...
Mathematics and Music: Relating Science to Arts?
... All these studies of ‘harmonic’ ratios and proportions were the essence of music during Pythagorean times. This perception, however, lost its importance at the end of the Middle Ages, when more complex music was developed. Despite the ‘perfect’ ratios, there occurred new dissonances when particular ...
... All these studies of ‘harmonic’ ratios and proportions were the essence of music during Pythagorean times. This perception, however, lost its importance at the end of the Middle Ages, when more complex music was developed. Despite the ‘perfect’ ratios, there occurred new dissonances when particular ...
For Unit 6: Further Musical Understanding
... composers writing in this idiom were just as likely to use the works of Baroque composers as the starting point for their compositions, as was the case with Pulcinella. In fact, J.S. Bach was the most influential of these earlier composers. There was a very influential Back to Bach movement in the m ...
... composers writing in this idiom were just as likely to use the works of Baroque composers as the starting point for their compositions, as was the case with Pulcinella. In fact, J.S. Bach was the most influential of these earlier composers. There was a very influential Back to Bach movement in the m ...
(1) Sound and Music
... Frequency and Pitch Frequency and pitch describe the same thing, but from different viewpoints. While frequency measures the cycle rate of the physical waveform, pitch is how high or low it sounds when you hear it. This is directly related to frequency: the higher the frequency of a waveform, the h ...
... Frequency and Pitch Frequency and pitch describe the same thing, but from different viewpoints. While frequency measures the cycle rate of the physical waveform, pitch is how high or low it sounds when you hear it. This is directly related to frequency: the higher the frequency of a waveform, the h ...
Composition.
... one's competence or authority to evaluate either the ‘fidelity’ or the ‘originality’ of performances. Arguments concerning criteria for judging the effectiveness of performances have played an important role in the development of musical thought and music theory. In many cultures compositions are va ...
... one's competence or authority to evaluate either the ‘fidelity’ or the ‘originality’ of performances. Arguments concerning criteria for judging the effectiveness of performances have played an important role in the development of musical thought and music theory. In many cultures compositions are va ...
Music Theory Review Guide - Guitar
... to succeed as professionals in the field of music. Students learn the historical, stylistic, and theoretical fundamentals of music and apply this knowledge through performance and scholarship. EKU music students have the unique opportunity to perform with award winning ensembles that are regularly i ...
... to succeed as professionals in the field of music. Students learn the historical, stylistic, and theoretical fundamentals of music and apply this knowledge through performance and scholarship. EKU music students have the unique opportunity to perform with award winning ensembles that are regularly i ...
The Motive - AState.edu
... relationship between the two bracketed ideas is not clear. The lack of relationship between these two ideas creates a sense of variety. ...
... relationship between the two bracketed ideas is not clear. The lack of relationship between these two ideas creates a sense of variety. ...
Composing for the Carillon: Recommendations and Examples
... 2. Chords should be thinned out as much as is practical, in view of the already full, rich sound of the bells. Spacing of the chords is critical. (c-e-g-c1 would sound terrible, whereas c-g-e1-c2, while still a bit thick on some carillons, is much better.) You can get by with much thicker writing in ...
... 2. Chords should be thinned out as much as is practical, in view of the already full, rich sound of the bells. Spacing of the chords is critical. (c-e-g-c1 would sound terrible, whereas c-g-e1-c2, while still a bit thick on some carillons, is much better.) You can get by with much thicker writing in ...
bebop
... together at the beginning and the end of each piece, with improvisational solos based on the chords of the tune. Thus, the majority of a song in bebop style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes impro ...
... together at the beginning and the end of each piece, with improvisational solos based on the chords of the tune. Thus, the majority of a song in bebop style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes impro ...
VALUING MUSIC
... songs and instrumental pieces by rote/ memory and from notation. • Perform a simple melody on keyboard. • Carry an advanced harmony part of a previously learned song. • Perform simple chord progressions on an instrument. ...
... songs and instrumental pieces by rote/ memory and from notation. • Perform a simple melody on keyboard. • Carry an advanced harmony part of a previously learned song. • Perform simple chord progressions on an instrument. ...
The application of the Kodaly method to instrumental music education
... are consistently linked with music as an auditory experience. During the whole course of study, nusical training and technical advancement thus proceed hand in hand, in continuous interaction. Clear and delibrate phrasing supports the development of each step in instrumental instruction, while instr ...
... are consistently linked with music as an auditory experience. During the whole course of study, nusical training and technical advancement thus proceed hand in hand, in continuous interaction. Clear and delibrate phrasing supports the development of each step in instrumental instruction, while instr ...
Psychology and Music - Diana Deutsch
... But Aristoxenus was not understood by his contemporaries, nor by the music theorists of the Middle Ages and early Renaissance, who continued to adhere to the numerological approach. Most of his works were lost to posterity, though fortunately two books of his Harmonic Elements and fragments of his E ...
... But Aristoxenus was not understood by his contemporaries, nor by the music theorists of the Middle Ages and early Renaissance, who continued to adhere to the numerological approach. Most of his works were lost to posterity, though fortunately two books of his Harmonic Elements and fragments of his E ...
Scales - SmartSite
... scales, keys, intervals, triads--some of the things that go to make up musical tonality. If you already know something about this material (often called “harmony and theory”), it should take you 30 minutes or so to look over and refresh your memory. If it’s all new to you, it will probably take some ...
... scales, keys, intervals, triads--some of the things that go to make up musical tonality. If you already know something about this material (often called “harmony and theory”), it should take you 30 minutes or so to look over and refresh your memory. If it’s all new to you, it will probably take some ...
Debussy`s Corner of Paris 1908
... harmony consists of a relationship between different chords. None of them—melody, rhythm or harmony—focuses on the individual moment. Sound, by contrast, directs our attention to a particular instant in time. Whether a sound is loud or soft, high or low, the timbre of the sound, the attack of the ...
... harmony consists of a relationship between different chords. None of them—melody, rhythm or harmony—focuses on the individual moment. Sound, by contrast, directs our attention to a particular instant in time. Whether a sound is loud or soft, high or low, the timbre of the sound, the attack of the ...
DRUM NOTATION. In this lesson we look at how to read basic drum
... which is the most common time signature (otherwise called “common time”), it takes 4 quarter notes to fill a bar An 8th note last for half a beat – therefore you play 2 8th notes to every quarter note. You play 8 8th notes inside a bar of 4/4, hence the name 8th note. An 8th note has 1 flag falling ...
... which is the most common time signature (otherwise called “common time”), it takes 4 quarter notes to fill a bar An 8th note last for half a beat – therefore you play 2 8th notes to every quarter note. You play 8 8th notes inside a bar of 4/4, hence the name 8th note. An 8th note has 1 flag falling ...
PDF - UNT Digital Library
... Craft of Musical Composition, Vol. I; and Heinrich Schenker in his Tonwille, ...
... Craft of Musical Composition, Vol. I; and Heinrich Schenker in his Tonwille, ...
Lesson_UUU_-_The_Maj..
... Because the pattern of tones and semitones discussed above is the same for every major scale, we often prefer to use general labels for each scale degree. The two main types of labels that we will give scale degrees in this lesson are scale degree numbers, and solfège syllables. Scale degree numbers ...
... Because the pattern of tones and semitones discussed above is the same for every major scale, we often prefer to use general labels for each scale degree. The two main types of labels that we will give scale degrees in this lesson are scale degree numbers, and solfège syllables. Scale degree numbers ...
What a Musical Work Is
... written for violin to be played in such a way that certain passages sound more like a flute than they do a violin. Such a piece would surely be accounted unusual, and to some degree, original as well. Understood as a piece for violin and occasional flute, however, it might have nothing unusual or or ...
... written for violin to be played in such a way that certain passages sound more like a flute than they do a violin. Such a piece would surely be accounted unusual, and to some degree, original as well. Understood as a piece for violin and occasional flute, however, it might have nothing unusual or or ...
Phrase Painting and Goal Orientation In Two Late Gesualdo Madrigals
... shed some light on a number of the more unusual sonorities and chord progressions found within these madrigals by providing a new framework from which to begin analysis. For example, the idea of phrase painting can be applied in many instances to show the origin of certain non-Renaissance sonorities ...
... shed some light on a number of the more unusual sonorities and chord progressions found within these madrigals by providing a new framework from which to begin analysis. For example, the idea of phrase painting can be applied in many instances to show the origin of certain non-Renaissance sonorities ...
Partita no. 4 in D: Sarabande and Gigue JS Bach
... • Almost entirely two-part writing • The right hand has the melody, with semiquavers and demisemiquavers, while the left hand has a supporting part with mainly quavers ‒ ‘melody-dominated homophony’ • The beginning and end of each section is strengthened by the addition of (an)other part(s) ‒ e.g. t ...
... • Almost entirely two-part writing • The right hand has the melody, with semiquavers and demisemiquavers, while the left hand has a supporting part with mainly quavers ‒ ‘melody-dominated homophony’ • The beginning and end of each section is strengthened by the addition of (an)other part(s) ‒ e.g. t ...
A Player`s Introductory Guide to the Medieval Vielle by Corey Green
... The first section of the manual covers the historical background that pertains to the instrument and the structure of medieval melodies. Included in this section are the sources for information on the instrument, variations of instrument design, issues of tuning, and methods to adjust the ear to the ...
... The first section of the manual covers the historical background that pertains to the instrument and the structure of medieval melodies. Included in this section are the sources for information on the instrument, variations of instrument design, issues of tuning, and methods to adjust the ear to the ...
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).