Haydn: London Symphony, No.104
... 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). ...
... 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). ...
Alois Hába`s Suite für vier Posaunen
... composed purely of conventional pitches alternate with chords composed purely of quarter-tone pitches. Example 3.3 shows a representative passage from Neue Harmonielehre in which passages of conventional pitches alternate with passages of quarter-tone pitches. The brackets under the staff indicate t ...
... composed purely of conventional pitches alternate with chords composed purely of quarter-tone pitches. Example 3.3 shows a representative passage from Neue Harmonielehre in which passages of conventional pitches alternate with passages of quarter-tone pitches. The brackets under the staff indicate t ...
Tonal structure and scales - Jacobs University Mathematics
... A.Diederich – International University Bremen – USC – MMM – Spring 2005 ...
... A.Diederich – International University Bremen – USC – MMM – Spring 2005 ...
Here are some important points about pitch: • Pitch is the “highness
... order), we no longer have a major scale. For example, the series D E F G A B C D does not sound like a major scale because the half-steps between E and F, and B and C are now in the “wrong location.” In order to “fix” it, we will need to introduce new pitches. ...
... order), we no longer have a major scale. For example, the series D E F G A B C D does not sound like a major scale because the half-steps between E and F, and B and C are now in the “wrong location.” In order to “fix” it, we will need to introduce new pitches. ...
Computational Models of the Pitch-Rhythm Correspondence
... The arrow marked i symbolizes a characteristic directed measurement, distance, or motion from s to t. We intuit such situations in many musical spaces, and we are used to calling i “the interval from s to t” when the symbolic points are pitches or pitch classes. The general intuition at hand is then ...
... The arrow marked i symbolizes a characteristic directed measurement, distance, or motion from s to t. We intuit such situations in many musical spaces, and we are used to calling i “the interval from s to t” when the symbolic points are pitches or pitch classes. The general intuition at hand is then ...
Stephanie Reusch Paper 2 Composers use several types of non
... it’s no wonder that Mozart attempts to exaggerate and prolong the tonic with these nonchord tones. Though these non-chord tones certainly weaken the textural stability of the presentation, the listener still admires that the presentation is still quite texturally strong. However, perhaps all of thes ...
... it’s no wonder that Mozart attempts to exaggerate and prolong the tonic with these nonchord tones. Though these non-chord tones certainly weaken the textural stability of the presentation, the listener still admires that the presentation is still quite texturally strong. However, perhaps all of thes ...
Lesson_CCC_-_The_Min..
... function very well. Listen again to Example 6 and then compare it to Example 7. Which version of the V chord has a stronger pull back to tonic? With the addition of a leading tone, Example 7 gives a much stronger sense of resolution. The same would be true of a progression using VII instead of vii°. ...
... function very well. Listen again to Example 6 and then compare it to Example 7. Which version of the V chord has a stronger pull back to tonic? With the addition of a leading tone, Example 7 gives a much stronger sense of resolution. The same would be true of a progression using VII instead of vii°. ...
Music Vocabulary Review PP
... melodic and rhythmic alterations to present new interpretations of the melody. • Question: This affects or is affected by (A) Melody, (B) Harmony, (C) Rhythm or (D) Form, (E) A and B? • Why? ...
... melodic and rhythmic alterations to present new interpretations of the melody. • Question: This affects or is affected by (A) Melody, (B) Harmony, (C) Rhythm or (D) Form, (E) A and B? • Why? ...
Grade 2 - Farmington River Regional School District
... Meter & Pitch Students will: Conduct in 2/4 meter while playing American play – party song-game Identify pitches as higher or lower, in relation to each pitch played on the piano Improvisation ...
... Meter & Pitch Students will: Conduct in 2/4 meter while playing American play – party song-game Identify pitches as higher or lower, in relation to each pitch played on the piano Improvisation ...
Cyclical Structures and the Organisation of Time Bryn Harrison
... selected pieces, I will examine the main aspects of my musical language and discuss how these techniques have evolved and changed over a five year period. Additionally, I will discuss my use of musical notation and, in particular, try to illustrate how this has been used not only as a means of sonic ...
... selected pieces, I will examine the main aspects of my musical language and discuss how these techniques have evolved and changed over a five year period. Additionally, I will discuss my use of musical notation and, in particular, try to illustrate how this has been used not only as a means of sonic ...
The perception of interleaved melodies
... Such passages as that from a Bach so10 cello suite shown in Fig. 1 are typical. Here two melodic lines in nonoverlapping pitch ranges have been temporally interleaved. The upper and lower sets of tones split apart perceptually into separate contrapuntal lines, an effect to be called “melodic fission ...
... Such passages as that from a Bach so10 cello suite shown in Fig. 1 are typical. Here two melodic lines in nonoverlapping pitch ranges have been temporally interleaved. The upper and lower sets of tones split apart perceptually into separate contrapuntal lines, an effect to be called “melodic fission ...
"Tonal Organization in Schoenberg`s Six Little Piano Pieces, Op. 19"
... time. However, the harmonic "vocabulary" (chords and nonharmonic tones) and "grammar" represent an extension of traditional tonal practice. In a given passage, modulation may or may not occur. Pitch is organized with reference to two simultaneous tonal centers, some tones being related primarily to ...
... time. However, the harmonic "vocabulary" (chords and nonharmonic tones) and "grammar" represent an extension of traditional tonal practice. In a given passage, modulation may or may not occur. Pitch is organized with reference to two simultaneous tonal centers, some tones being related primarily to ...
Read program notes
... unrecognizable melodies drawn from the Torino Manuscript. Gilbert vividly paints each miniature text with distinct texture. Sinuous melodies, pointillist gestures, bent pitches (quarter-tones and glissandi), improvisatory rhythm, and dynamic pitch collections work together to create an ever-evolving ...
... unrecognizable melodies drawn from the Torino Manuscript. Gilbert vividly paints each miniature text with distinct texture. Sinuous melodies, pointillist gestures, bent pitches (quarter-tones and glissandi), improvisatory rhythm, and dynamic pitch collections work together to create an ever-evolving ...
NGFL_Shost_movt_2_analysis
... THEMES: The opening theme is characterised by two main musical ideas, a1 and a2, and the opening four bars outline the ideas for the movement to follow. Figure a1 is the opening idea in G# minor, and presents itself as narrow range of pitches, including the mediant, tonic and flattened supertonic o ...
... THEMES: The opening theme is characterised by two main musical ideas, a1 and a2, and the opening four bars outline the ideas for the movement to follow. Figure a1 is the opening idea in G# minor, and presents itself as narrow range of pitches, including the mediant, tonic and flattened supertonic o ...
Week 15
... Consonance and Dissonance • Harmony and treatment of chords changed • Before 1900: consonant and dissonant • Opposite sides of the coin ...
... Consonance and Dissonance • Harmony and treatment of chords changed • Before 1900: consonant and dissonant • Opposite sides of the coin ...
Keyboard In Western Style
... method", this book contains the same information as those courses and what's best is explained in a simple manner. Lots of people really would like to play the keyboard or piano, the most popular instrument. They don't know one note from another. They do know they love music and want to learn how to ...
... method", this book contains the same information as those courses and what's best is explained in a simple manner. Lots of people really would like to play the keyboard or piano, the most popular instrument. They don't know one note from another. They do know they love music and want to learn how to ...
Pedagogical strategies for free improvisation - Stoa
... relationship between melody and harmony as a mean to reinforce harmonic tonal goals. Yet, as opposed to gesture, texture itself doesn’t evoke specific cultural territories. Its quality produces a kind of primordial sensation that lies before that identification of a specific territory. When we speak ...
... relationship between melody and harmony as a mean to reinforce harmonic tonal goals. Yet, as opposed to gesture, texture itself doesn’t evoke specific cultural territories. Its quality produces a kind of primordial sensation that lies before that identification of a specific territory. When we speak ...
Music Beginning
... called the F clef. a. Treble Clef b. Alto Clef c. Bass Clef 40. Sharps, flats or naturals occurring in a piece of music that are not in a key signature are referred to as_____. a. rhythms b. staves c. accidentals 41. Moderately soft is __________________. a. mezzo forte b. mezzo piano c. mezzo 42. _ ...
... called the F clef. a. Treble Clef b. Alto Clef c. Bass Clef 40. Sharps, flats or naturals occurring in a piece of music that are not in a key signature are referred to as_____. a. rhythms b. staves c. accidentals 41. Moderately soft is __________________. a. mezzo forte b. mezzo piano c. mezzo 42. _ ...
Six Bagatelles for String Quartet, Op. 9, No. 5 “Äußerst langsam
... lunaire is an atonal work, but we didn’t necessarily notice that fact because Schoenberg held the song together with the persistent three-note ostinato, which he called a passacaglia. In this way, “Nacht” uses a structure from the past, but combines it with the Modern technique of atonality. (And, b ...
... lunaire is an atonal work, but we didn’t necessarily notice that fact because Schoenberg held the song together with the persistent three-note ostinato, which he called a passacaglia. In this way, “Nacht” uses a structure from the past, but combines it with the Modern technique of atonality. (And, b ...
Unit 2: The Staff, Notes, and Pitches
... Treble Clef and Staff Music notes are named after the first seven letters of the ...
... Treble Clef and Staff Music notes are named after the first seven letters of 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).