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... This impression is reinforced by the presence of sustained appoggiaturas on downbeats in the melody, which challenge the 1 chord in all but its first statement (m. 3: D-C#; m. 5: B-A; m. 7: G-E, forming the third-chain D-A-G). By contrast, the downbeats of measures containing the (5) chord tend to r ...
Improvisation: Performer as Co-composer
... Because of this discrepancy, the plainchant could be considered a “faux” or “false” bass to a singer who used the printed plainsong as a guide.8 How this practice was taught and spread throughout urban populations is somewhat mysterious to scholars because, like most improvised music, little remains ...
... Because of this discrepancy, the plainchant could be considered a “faux” or “false” bass to a singer who used the printed plainsong as a guide.8 How this practice was taught and spread throughout urban populations is somewhat mysterious to scholars because, like most improvised music, little remains ...
Scales in Music
... As noted earlier, the use of the word ‘scale’ in measurement theory is closely related to its use in music; in particular, this use of ‘scale’ derives from the Latin word sc³lae [ladder]. In this section we examine musical scales from the viewpoint of measurement theory (and of course music theory) ...
... As noted earlier, the use of the word ‘scale’ in measurement theory is closely related to its use in music; in particular, this use of ‘scale’ derives from the Latin word sc³lae [ladder]. In this section we examine musical scales from the viewpoint of measurement theory (and of course music theory) ...
Improvisation: Performer as Co
... Because of this discrepancy, the plainchant could be considered a “faux” or “false” bass to a singer who used the printed plainsong as a guide.8 How this practice was taught and spread throughout urban populations is somewhat mysterious to scholars because, like most improvised music, little remains ...
... Because of this discrepancy, the plainchant could be considered a “faux” or “false” bass to a singer who used the printed plainsong as a guide.8 How this practice was taught and spread throughout urban populations is somewhat mysterious to scholars because, like most improvised music, little remains ...
A short introduction to Indian Classical Music
... stringed instrument called a Tanpura. Many Hindustani melody instruments also have a way of playing a drone. The Sitar, for example has a number of strings used specifically for producing the drone, players sound the drone strings as well as performing the notes of the rag on the instrument’s other ...
... stringed instrument called a Tanpura. Many Hindustani melody instruments also have a way of playing a drone. The Sitar, for example has a number of strings used specifically for producing the drone, players sound the drone strings as well as performing the notes of the rag on the instrument’s other ...
MTO 16.3: Stoia, Mode, Harmony, and Dissonance Treatment
... [4] Dissonance arises within the melodic mode itself, through the relationship of the mode to the underlying harmony, and through the relationship of the non-tonic harmonies to the tonic. In this repertoire, the tonic triad is most often major. As in most tonal classical repertoire, the members of t ...
... [4] Dissonance arises within the melodic mode itself, through the relationship of the mode to the underlying harmony, and through the relationship of the non-tonic harmonies to the tonic. In this repertoire, the tonic triad is most often major. As in most tonal classical repertoire, the members of t ...
24. Debussy Pour le piano: Sarabande Introduction and Performance circumstances
... frequent bass G sharps preparing for the final C sharp minor tonic chord in bars 71– 72. The brief reminiscence from bar 67 of the passage that began in bar 23 helps to account for the D natural within C sharp Aeolian minor. ...
... frequent bass G sharps preparing for the final C sharp minor tonic chord in bars 71– 72. The brief reminiscence from bar 67 of the passage that began in bar 23 helps to account for the D natural within C sharp Aeolian minor. ...
Coming to Terms with Persichetti`s Pageant
... are restored; not only in the polyphonic lines themselves (m. 52, beat 2), but in a curious substratum in bass voices – a feature that brings to mind the vacillation between B Ionian and G Aeolian identified earlier. The beautiful suspension first heard in measure 13 is even more prominent here (m. ...
... are restored; not only in the polyphonic lines themselves (m. 52, beat 2), but in a curious substratum in bass voices – a feature that brings to mind the vacillation between B Ionian and G Aeolian identified earlier. The beautiful suspension first heard in measure 13 is even more prominent here (m. ...
Fact Sheet 1
... words were sometimes added to alleluias. This was melodic pattern at the same time, but beginning at called ‘troping’. A Carolingian monk called Notker two different pitches, usually a perfect 4th or 5th Balbulus explained that it was done because singers apart. ‘Rex caeli’ is a beautiful example of ...
... words were sometimes added to alleluias. This was melodic pattern at the same time, but beginning at called ‘troping’. A Carolingian monk called Notker two different pitches, usually a perfect 4th or 5th Balbulus explained that it was done because singers apart. ‘Rex caeli’ is a beautiful example of ...
Finding Alternative Musical Scales
... A number of composers have written music that uses the quarter-tone scale, in which the octave is divided into 24 equal intervals. Some of the betterknown examples are Béla Bartók, Alban Berg, Ernest Bloch, Pierre Boulez, Aaron Copeland, George Enescu, Charles Ives, and Henry Mancini. We will find ...
... A number of composers have written music that uses the quarter-tone scale, in which the octave is divided into 24 equal intervals. Some of the betterknown examples are Béla Bartók, Alban Berg, Ernest Bloch, Pierre Boulez, Aaron Copeland, George Enescu, Charles Ives, and Henry Mancini. We will find ...
Kievan notation
... Now that we have covered clefs, we can move on to what comes next. In the standard Kievan notation that was adopted by the official Synodal Printing Press of the Russian Church to print volumes of Znamenny Chant (and for later chant systems), they settled upon only one position for “DO”: the middle ...
... Now that we have covered clefs, we can move on to what comes next. In the standard Kievan notation that was adopted by the official Synodal Printing Press of the Russian Church to print volumes of Znamenny Chant (and for later chant systems), they settled upon only one position for “DO”: the middle ...
A player`s handbook
... playing rhythmic elaborations that often reinforce both the metre and the pulse. Sometimes two kendang play rhythmically interlocking patterns, sometimes they combine to play rhythmic accents, and sometimes the lead drummer will play on their own. Together with the ...
... playing rhythmic elaborations that often reinforce both the metre and the pulse. Sometimes two kendang play rhythmically interlocking patterns, sometimes they combine to play rhythmic accents, and sometimes the lead drummer will play on their own. Together with the ...
CHROMATIC SCALES 0 0
... ajor and minor scales are diatonic. That is, they are made up of tones and semitones, and they contain only notes that belo ng to the scale. A chromatic scale is made up of only semitones and contains all twelve notes in the octave. There are two types of chromatic scale s: the chromatic scale that ...
... ajor and minor scales are diatonic. That is, they are made up of tones and semitones, and they contain only notes that belo ng to the scale. A chromatic scale is made up of only semitones and contains all twelve notes in the octave. There are two types of chromatic scale s: the chromatic scale that ...
Dictionary of Musical Terms
... phrase..................... A 'musical thought'; phrases are a way to break a piece into sections..... ________ ________ (Eng.) FRAYS ...
... phrase..................... A 'musical thought'; phrases are a way to break a piece into sections..... ________ ________ (Eng.) FRAYS ...
Synthesis of Divergent Early and Twentieth
... features characteristics of both early and twentieth-century music.1 This article identifies these early and new elements and discovers how they are synthesized into a twentieth-century idiom. Most significantly, this mass reveals a disparate harmonic language that includes modality, octatonicism, p ...
... features characteristics of both early and twentieth-century music.1 This article identifies these early and new elements and discovers how they are synthesized into a twentieth-century idiom. Most significantly, this mass reveals a disparate harmonic language that includes modality, octatonicism, p ...
Symphony no. 26 in D Minor, `Lamentatione`: Movement I Haydn
... The two-part opening bars (1–8) and similar passages have the vital characteristic of counterpoint – the clear rhythmic differentiation of parts which each have a definite melodic character, for the lower part is just as ‘melodic’ as the upper. Haydn’s counterpoint involves combination of different ...
... The two-part opening bars (1–8) and similar passages have the vital characteristic of counterpoint – the clear rhythmic differentiation of parts which each have a definite melodic character, for the lower part is just as ‘melodic’ as the upper. Haydn’s counterpoint involves combination of different ...
Lesson_CCC_-_The_Min..
... augmented triad. The triad built on scale degree 3 is the tonic of the relative major. Having an augmented triad here would subvert this important relationship and is therefore not permitted. In this light, one should think of the harmonic minor scale not as a key in its own right, but rather a vari ...
... augmented triad. The triad built on scale degree 3 is the tonic of the relative major. Having an augmented triad here would subvert this important relationship and is therefore not permitted. In this light, one should think of the harmonic minor scale not as a key in its own right, but rather a vari ...
A Statistical Analysis of Raga Ahir Bhairav
... purely subjective piece of opinion. A second point to note is that several peaks are rising to appreciable heights, indicating more staying on the notes. This is what is expected in a morning raga such as Ahir Bhairav given that morning is expected to be peaceful. It may be of interest to compare su ...
... purely subjective piece of opinion. A second point to note is that several peaks are rising to appreciable heights, indicating more staying on the notes. This is what is expected in a morning raga such as Ahir Bhairav given that morning is expected to be peaceful. It may be of interest to compare su ...
Scales and Temperament - Department of Physics and Astronomy
... the first 5th and the frequency is divided by two (3f/2) ‣ Hence, the perfect fifth is in a 3:2 ratio with the tonic tuning: build up the chromatic scale of 12 ‣ Pythagorean notes by climbing up the scale by 5ths and down by ...
... the first 5th and the frequency is divided by two (3f/2) ‣ Hence, the perfect fifth is in a 3:2 ratio with the tonic tuning: build up the chromatic scale of 12 ‣ Pythagorean notes by climbing up the scale by 5ths and down by ...
lesson plan
... echoing patterns and call and response. Using the melodic pattern in Always Sing, students manipulate musical elements to create their own composition with or without accompaniment. Task 1 Course Grade Level(s) Process Anchor Standard 1 Enduring Understanding Essential Question(s) MU:Cr1.1.5a Imagin ...
... echoing patterns and call and response. Using the melodic pattern in Always Sing, students manipulate musical elements to create their own composition with or without accompaniment. Task 1 Course Grade Level(s) Process Anchor Standard 1 Enduring Understanding Essential Question(s) MU:Cr1.1.5a Imagin ...
Sonata for Horn, Trumpet and Trombone
... Performing Forces and their Handling • Poulenc was unhappy writing for solo strings and even went to the extent of throwing away a recently written string quartet in 1947. • He preferred to write for piano (his own instrument) and/or wind instruments. His sonatas for clarinet and piano and flute and ...
... Performing Forces and their Handling • Poulenc was unhappy writing for solo strings and even went to the extent of throwing away a recently written string quartet in 1947. • He preferred to write for piano (his own instrument) and/or wind instruments. His sonatas for clarinet and piano and flute and ...
Traditional sub-Saharan African harmony
![](https://commons.wikimedia.org/wiki/Special:FilePath/A_pentatonic_scale_in_descending_order.jpg?width=300)
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).