AP® Music Theory 2012 Scoring Guidelines
... 5. A chordal seventh approached by a descending leap. D. Award 0 points for voice leading between two correctly realized chords (as defined in II.A.) if any one of the following statements is true: 1. Parallel octaves, fifths, or unisons occur (immediately successive or on successive beats), includi ...
... 5. A chordal seventh approached by a descending leap. D. Award 0 points for voice leading between two correctly realized chords (as defined in II.A.) if any one of the following statements is true: 1. Parallel octaves, fifths, or unisons occur (immediately successive or on successive beats), includi ...
Full CD Booklet
... common with any of the other tunings explored in this study. However, it does contain an intriguing arrangement of the two distinct pentatonic modes of Java and Bali, known as pelog and slendro — modes that cannot be realistically approximated in 12-note tuning. The Etude alternates the two modes wi ...
... common with any of the other tunings explored in this study. However, it does contain an intriguing arrangement of the two distinct pentatonic modes of Java and Bali, known as pelog and slendro — modes that cannot be realistically approximated in 12-note tuning. The Etude alternates the two modes wi ...
kamienbrief6_ppt_par..
... – 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 ...
Transposing Chord Symbols
... Faculty of Arts Language of Music Worksheet 11 Extended Chords (9th, 11th, 13th): We discussed compound intervals, that is intervals of more than an octave, in an earlier lesson. How might we notate the addition of these as extensions to a chord? The first point to make is that extensions of the ten ...
... Faculty of Arts Language of Music Worksheet 11 Extended Chords (9th, 11th, 13th): We discussed compound intervals, that is intervals of more than an octave, in an earlier lesson. How might we notate the addition of these as extensions to a chord? The first point to make is that extensions of the ten ...
... MU 30 is a continuation of MU 29. An entrance audition is required if MU 29 was not taken. Students will study more advanced chords, rhythms, note reading and harmony techniques. Public performance is a possibility. Placement is by teacher recommendation/audition. The following Instrumental M ...
Introduction - Dartmouth Math Home
... Just tuning creates various problems when it comes to transposing music and in some cases even creates problems within each scale. But the ratios that just scales are founded upon create the most pleasing intervals. So to achieve this, one can either avoid transposition, add more degrees to the scal ...
... Just tuning creates various problems when it comes to transposing music and in some cases even creates problems within each scale. But the ratios that just scales are founded upon create the most pleasing intervals. So to achieve this, one can either avoid transposition, add more degrees to the scal ...
Pitch, tonality, and the missing fundamentals of music cognition
... evidence that tonic in MmT is a triad, not a tone ...
... evidence that tonic in MmT is a triad, not a tone ...
A Non-Pythagorean Musical Scale Based on Logarithms
... scale to compose with not only the tones themselves, but with the beat frequencies within chords. Specifically, if whole-numbered tones X* and Y* are chosen such that is an integer, the beat frequency created by sounding the two pitches together will itself be a tone * of the logarithmic scale, allo ...
... scale to compose with not only the tones themselves, but with the beat frequencies within chords. Specifically, if whole-numbered tones X* and Y* are chosen such that is an integer, the beat frequency created by sounding the two pitches together will itself be a tone * of the logarithmic scale, allo ...
Song leaders tools
... music. First you need to know the names of the notes. Notes are named according to their pitch. In the key of C major (the scale which has only the white keys on the piano on it), the scale consists of 7 notes, in ascending order as: C D E F G A B (C) . If you go above the C at the top the cycle rep ...
... music. First you need to know the names of the notes. Notes are named according to their pitch. In the key of C major (the scale which has only the white keys on the piano on it), the scale consists of 7 notes, in ascending order as: C D E F G A B (C) . If you go above the C at the top the cycle rep ...
Ornamentation in Music
... Suspension: A suspension occurs when the harmony shifts from one chord to another, but one or more notes of the first chord (the "Preparation") are either temporarily held over into or are played again against the second chord (against which they are nonchord tones called the "Suspension") before re ...
... Suspension: A suspension occurs when the harmony shifts from one chord to another, but one or more notes of the first chord (the "Preparation") are either temporarily held over into or are played again against the second chord (against which they are nonchord tones called the "Suspension") before re ...
File - Bill Troxler
... major - minor - diminished These stacks of three tones are called “triads”. Additional tones are often added to the basic triads. These additional tones are called “Chord Extensions”. The sounds created by chord extensions are the essence of many styles of music ...
... major - minor - diminished These stacks of three tones are called “triads”. Additional tones are often added to the basic triads. These additional tones are called “Chord Extensions”. The sounds created by chord extensions are the essence of many styles of music ...
Medieval Period
... • This style of music can be characterized as adding hollow sounding harmonies(perfect 4ths & 5ths) to existing chants. • This type of music is called organum. • Originally, one voice would be added above the existing chant. The chant would be sung very slowly - it was called the cantus firmus. ...
... • This style of music can be characterized as adding hollow sounding harmonies(perfect 4ths & 5ths) to existing chants. • This type of music is called organum. • Originally, one voice would be added above the existing chant. The chant would be sung very slowly - it was called the cantus firmus. ...
Music Terms and Symbols Music Terms and Symbols
... Indicates that the two (or more) notes joined together are to be played as one note with the time values added together. To be a tie, the notes must be identical; that is, they must be on the same line or the same space; otherwise, it is a slur (see below). Slur Indicates that two or more notes are ...
... Indicates that the two (or more) notes joined together are to be played as one note with the time values added together. To be a tie, the notes must be identical; that is, they must be on the same line or the same space; otherwise, it is a slur (see below). Slur Indicates that two or more notes are ...
Electric Counterpoint PowerPoint
... This changes the texture dramatically as we now have a percussive sound that cuts across the other parts. Guitar 5 chord sequence at bar 40: C, Bm, E5 Guitar 6 chord sequence at bar 52: C, D, Em Guitar 7 chord sequence at bar 64: C, D, Bm ...
... This changes the texture dramatically as we now have a percussive sound that cuts across the other parts. Guitar 5 chord sequence at bar 40: C, Bm, E5 Guitar 6 chord sequence at bar 52: C, D, Em Guitar 7 chord sequence at bar 64: C, D, Bm ...
7 PITCH AND TIMBRE
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
Symphony no - Life Learning Cloud
... Music reaches E minor. A staccato counter melody (new tune which fits with another) is played with the theme. Changes of keys are a big feature of the development. E min – A min – D min – G min - C- F- B flat maj. Dominant pedal ‘A’ in (D minor). Texture reduced. Three note motif from 1st subject is ...
... Music reaches E minor. A staccato counter melody (new tune which fits with another) is played with the theme. Changes of keys are a big feature of the development. E min – A min – D min – G min - C- F- B flat maj. Dominant pedal ‘A’ in (D minor). Texture reduced. Three note motif from 1st subject is ...
degree handbook - Berklee College of Music
... and minor pentatonic scales in the style of B.B. King and T-Bone Walker. Through call and response exercises and playing in other grooves and tempos, you’ll learn to pace your solos to create tension and release. ...
... and minor pentatonic scales in the style of B.B. King and T-Bone Walker. Through call and response exercises and playing in other grooves and tempos, you’ll learn to pace your solos to create tension and release. ...
Here is the ligeti chamber concerto article
... toward static parameters while measures 36-39 are clearly weighted toward active parameters. It is also interesting to note that while structural divisions based on rhythmic texture closely correspond to those suggested by sonority the internal relationships between each rhythmically defined section ...
... toward static parameters while measures 36-39 are clearly weighted toward active parameters. It is also interesting to note that while structural divisions based on rhythmic texture closely correspond to those suggested by sonority the internal relationships between each rhythmically defined section ...
The demise of number ratios in music theory
... indeed anything else of the kind.” “we must not follow the harmonic theorists in their dense diagrams which show as consecutive notes those which are separated by the smallest intervals [but] try to find what intervals the voice is by nature able to place in succession in a melody” Macran, H. S. (19 ...
... indeed anything else of the kind.” “we must not follow the harmonic theorists in their dense diagrams which show as consecutive notes those which are separated by the smallest intervals [but] try to find what intervals the voice is by nature able to place in succession in a melody” Macran, H. S. (19 ...
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).