![Unit 4 - Intervals](http://s1.studyres.com/store/data/008091525_1-dfc0984217271800db05e4c42756dc4c-300x300.png)
Predicting the root of a musical chord
... application of the overtone scale on chords, which consist of notes of the equal and not of the natural temperament, must be questioned. Terhardt also applies his algorithm only to simple examples, but neither to complex chord structures, nor to chord-chains. ...
... application of the overtone scale on chords, which consist of notes of the equal and not of the natural temperament, must be questioned. Terhardt also applies his algorithm only to simple examples, but neither to complex chord structures, nor to chord-chains. ...
Improvisation in Iranian and Indian music
... The process of learning to improvise as described for Iranian music therefore concurs with the “imitation – assimilation – innovation” model proposed by Paul Berliner (1994:120) in his study of jazz improvisation: by imitating and memorising different versions of the radif, as well as listening to ...
... The process of learning to improvise as described for Iranian music therefore concurs with the “imitation – assimilation – innovation” model proposed by Paul Berliner (1994:120) in his study of jazz improvisation: by imitating and memorising different versions of the radif, as well as listening to ...
The Emergence of the Idea of Irrationality In Renaissance
... equally divided, but almost equally, as is verifiable in the last column of the table, where each tone in such a scale is divided into two different, albeit quasiequal, semitones. In a general sense, such a process leads to an asymmetric scale, namely a scale in which not all equal intervals are pro ...
... equally divided, but almost equally, as is verifiable in the last column of the table, where each tone in such a scale is divided into two different, albeit quasiequal, semitones. In a general sense, such a process leads to an asymmetric scale, namely a scale in which not all equal intervals are pro ...
Lorenz Composer
... After B, the sequence repeats itself with the C from the octave above. The tones in music can be understood as sine waves of varying frequencies. The frequency of a pitch is twice that of the pitch in the octave below. The chromatic scale of music uses all 12 pitches, the major scale on the other ha ...
... After B, the sequence repeats itself with the C from the octave above. The tones in music can be understood as sine waves of varying frequencies. The frequency of a pitch is twice that of the pitch in the octave below. The chromatic scale of music uses all 12 pitches, the major scale on the other ha ...
Cyclic Organization in the `Chorale` of Charles Ives` Three Quarter
... other only two. The fact that these chords divide in this way, however, should be of no surprise since i5 and i7 evenly divide the fourth and the fifth, respectively. Every newly added pitch to each of the cycles adds a new fourth or fifth, and in both cases alternating between the even and odd divi ...
... other only two. The fact that these chords divide in this way, however, should be of no surprise since i5 and i7 evenly divide the fourth and the fifth, respectively. Every newly added pitch to each of the cycles adds a new fourth or fifth, and in both cases alternating between the even and odd divi ...
Beginning to Learn the Byzantine Musical System Using Western
... (a Plagal form of Third Tone), and Plagal Fourth Tone. The plagal forms are modally related to their authentic counterparts and may differ slightly in their tonic and dominant tones as well as their melodic formulas. Melodic Formulas. Byzantine chant has a lexicon of melodic formulas for every mode ...
... (a Plagal form of Third Tone), and Plagal Fourth Tone. The plagal forms are modally related to their authentic counterparts and may differ slightly in their tonic and dominant tones as well as their melodic formulas. Melodic Formulas. Byzantine chant has a lexicon of melodic formulas for every mode ...
Jr. Sr. High Instrumental/Vocal Vocabulary List
... an African American folk song, many of which began as religious songs short and choppy the five lines and four spaces on which musical notes are written move higher or lower to the next pitch instruments such as violin, viola cellow and double bass that are sounded by plucking or using a bow type of ...
... an African American folk song, many of which began as religious songs short and choppy the five lines and four spaces on which musical notes are written move higher or lower to the next pitch instruments such as violin, viola cellow and double bass that are sounded by plucking or using a bow type of ...
Automatic Transcription of Piano Music
... recording of a musical piece in order to extract the part of its contents related to notes: pitches, onset times, duration, and sometimes higher-level features like rhythm patterns, key and time signatures, etc. As a process for information extraction, the automatic transcription of music is a key t ...
... recording of a musical piece in order to extract the part of its contents related to notes: pitches, onset times, duration, and sometimes higher-level features like rhythm patterns, key and time signatures, etc. As a process for information extraction, the automatic transcription of music is a key t ...
TEKS Comparison.xlsx
... 1.1d. Identify and label repetition and contrast in simple songs such as ab, aaba, or abac patterns 1.2a. Read, write, and reproduce rhythmic patterns, including quarter note, paired eighth notes and quarter rest 1.2b. Read, write, and reproduce melodic patterns, including three tones from the penta ...
... 1.1d. Identify and label repetition and contrast in simple songs such as ab, aaba, or abac patterns 1.2a. Read, write, and reproduce rhythmic patterns, including quarter note, paired eighth notes and quarter rest 1.2b. Read, write, and reproduce melodic patterns, including three tones from the penta ...
Lesson EEE: The Dominant Seventh Chord
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do ...
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do ...
Lesson_CCC_-_The_Min..
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do ...
... As Example 11 shows, the raised seventh scale degree applies only to the chords built on 5 and 7, both of which have a dominant function. If these chords were built using the pitches of the diatonic minor, V would be minor (v) and vii° would be major (VII). Neither v nor VII pull toward tonic as do ...
Scales, Key, and Modes!
... Scalar Variance : the use of natural, harmonic, and melodic minor scales within one composition Opens up our menu of choices, provides more options Harmonic and Melodic forms of minor are Artificial Scales The natural minor is the only Artificial minor scale ...
... Scalar Variance : the use of natural, harmonic, and melodic minor scales within one composition Opens up our menu of choices, provides more options Harmonic and Melodic forms of minor are Artificial Scales The natural minor is the only Artificial minor scale ...
Music: An Appreciation by Roger Kamien 5ed
... – Non-western music may divide into different number – Most western music based on scale of 8 tones ...
... – Non-western music may divide into different number – Most western music based on scale of 8 tones ...
Semitones - funmusiccoimages.com
... What note is a tone higher than A? ______ What note is a tone lower than E? ______ What note is a tone higher than B? ______ What note is a tone lower than G sharp? ______ Circle the tones in this melody: ...
... What note is a tone higher than A? ______ What note is a tone lower than E? ______ What note is a tone higher than B? ______ What note is a tone lower than G sharp? ______ Circle the tones in this melody: ...
Unraveling Ravel - Macro Analysis Creative Research Organization
... many extended chords, including a number of chords that are best analyzed as ninth, eleventh, or thirteenth chords. A thirteenth chord contains every pitch of a diatonic scale. Even a ninth chord has five of the seven pitches in the diatonic scale. Add to that the confusion of omitted tones and many ...
... many extended chords, including a number of chords that are best analyzed as ninth, eleventh, or thirteenth chords. A thirteenth chord contains every pitch of a diatonic scale. Even a ninth chord has five of the seven pitches in the diatonic scale. Add to that the confusion of omitted tones and many ...
transcription - grfia - Universidad de Alicante
... What is automatic music transcription? Aim: This prototype is conceived as a research platform for Transforming an audio signal of a music performance in a symbolic representation (MIDI or score). ...
... What is automatic music transcription? Aim: This prototype is conceived as a research platform for Transforming an audio signal of a music performance in a symbolic representation (MIDI or score). ...
Chapter 6
... – One of his earliest and most popular motets (1485) – The text defines the musical sections, with each couplet or strophe treated uniquely. – Overlapping points of imitation create unity; before the last voice has finished a phrase, a different voice begins a new phrase with new text. – Words are d ...
... – One of his earliest and most popular motets (1485) – The text defines the musical sections, with each couplet or strophe treated uniquely. – Overlapping points of imitation create unity; before the last voice has finished a phrase, a different voice begins a new phrase with new text. – Words are d ...
The Structure of Plato`s Dialogues and Greek Music Theory: A
... according to any Greek concept (or any modern concept of a musical scale), the harmoniousness of each note can be determined by its relationship to any other note in the scale. To continue the pie analogy mentioned above, any number of slices from a pie could be compared to any other number of slice ...
... according to any Greek concept (or any modern concept of a musical scale), the harmoniousness of each note can be determined by its relationship to any other note in the scale. To continue the pie analogy mentioned above, any number of slices from a pie could be compared to any other number of slice ...
Khaen: Notes for Composers
... This technique is used extensively by Christopher Burns in Triangulation (see example in section 7, below). finger tremolo This traditional technique is often used when playing a melody in parallel octaves. The lower melody note is held while the upper note is rapidly repeated with finger motion whi ...
... This technique is used extensively by Christopher Burns in Triangulation (see example in section 7, below). finger tremolo This traditional technique is often used when playing a melody in parallel octaves. The lower melody note is held while the upper note is rapidly repeated with finger motion whi ...
BL Answer Key
... 26. The lowest female singing voice is ________________. a. soprano b. alto c. tenor 27. A rest that receives 3 beats of silence in 4/4 time is a _____. a. dotted half rest b. whole rest c. eighth rest 28. The space between two bar lines is a _______. a. grand staff b. measure c. staff 29. A rest t ...
... 26. The lowest female singing voice is ________________. a. soprano b. alto c. tenor 27. A rest that receives 3 beats of silence in 4/4 time is a _____. a. dotted half rest b. whole rest c. eighth rest 28. The space between two bar lines is a _______. a. grand staff b. measure c. staff 29. A rest t ...
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).