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The Diatonic Scale - Metropolitan Cantor Institute
... frequencies are in the ratio of 2:1 – they “sound” like the same pitch to most listeners. We call the pitch difference between two such notes an octave. That is why, for example, a man, a woman, and a small child can all sing the same melody together – they are singing at intervals of an octave. Cre ...
... frequencies are in the ratio of 2:1 – they “sound” like the same pitch to most listeners. We call the pitch difference between two such notes an octave. That is why, for example, a man, a woman, and a small child can all sing the same melody together – they are singing at intervals of an octave. Cre ...
[physics.pop-ph] 17 Sep 2012
... Despite of cultural differences, music from different civilizations seems to consist of some building blocks that are universal: melody, harmony, rhythm, etc. Almost all musical systems are based on scales spanning an octave–the note that sounds the same as the one you started off with, but at a hig ...
... Despite of cultural differences, music from different civilizations seems to consist of some building blocks that are universal: melody, harmony, rhythm, etc. Almost all musical systems are based on scales spanning an octave–the note that sounds the same as the one you started off with, but at a hig ...
set works A
... verse – clarinets now heard in accompanying instruments. •Carl Orff wrote the piece in 1937 •He was inspired by a collection of Medieval poems. •The verses are in italian, German, French and Latin. •The words comment on every aspect of human society – church, state, society and the individual. •Full ...
... verse – clarinets now heard in accompanying instruments. •Carl Orff wrote the piece in 1937 •He was inspired by a collection of Medieval poems. •The verses are in italian, German, French and Latin. •The words comment on every aspect of human society – church, state, society and the individual. •Full ...
urn_nbn_fi_jyu-20
... - Relations of sensory consonance/dissonance also frequently replace pitch space stability conditions in chromatic music, especially in non-triadic harmonic situations (TPS: 320). The anchoring principle is also important in such cases in disambiguating nonharmonic pitches. - Idiom-specific research ...
... - Relations of sensory consonance/dissonance also frequently replace pitch space stability conditions in chromatic music, especially in non-triadic harmonic situations (TPS: 320). The anchoring principle is also important in such cases in disambiguating nonharmonic pitches. - Idiom-specific research ...
Modern Notation for Plainchant
... quarter notes. Notes can also be “tied” together to make up a single longer note. And eighth notes can be “barred” together to show how they are grouped together, even if sung separately. ...
... quarter notes. Notes can also be “tied” together to make up a single longer note. And eighth notes can be “barred” together to show how they are grouped together, even if sung separately. ...
The Tetrachord (Ancient)
... to Figure 2, and I will try to walk through how to form this scale (This scale almost appears to be two scales push together so that the beginning and end are on the same scale note, A. This results in a slight jumble of notes about in the middle of the scale). The scale is comprised of 8 fi ...
... to Figure 2, and I will try to walk through how to form this scale (This scale almost appears to be two scales push together so that the beginning and end are on the same scale note, A. This results in a slight jumble of notes about in the middle of the scale). The scale is comprised of 8 fi ...
Bi-tonal Quartal Harmony
... II chords reside in a different chord class than sonorities in class IV because sonorities in these two classes are derived from different diatonic scales. Melodic principles basic to diatonic harmony, suc ...
... II chords reside in a different chord class than sonorities in class IV because sonorities in these two classes are derived from different diatonic scales. Melodic principles basic to diatonic harmony, suc ...
Expanded Tonality in Quartal Space: Back to Debussy`s
... expression. Another analogy is thus possible with traditional tonal harmonic structures that usually utilize weak cadences during the course of the music while reserving the strongest to conclude the piece. The point here demonstrates an inversion of values, since the "perfect" structure is a quarta ...
... expression. Another analogy is thus possible with traditional tonal harmonic structures that usually utilize weak cadences during the course of the music while reserving the strongest to conclude the piece. The point here demonstrates an inversion of values, since the "perfect" structure is a quarta ...
“Something`s Coming” from West Side Story
... 1. How does Bernstein create a sense of excitement and expectancy in the song? 2. Mention two techniques or devices that the composer uses in this song and throughout the musical itself? 3. Describe the harmony used in the song. 4. What is a ‘push’ rhythm and give an example? 5. What is a ‘blue’ not ...
... 1. How does Bernstein create a sense of excitement and expectancy in the song? 2. Mention two techniques or devices that the composer uses in this song and throughout the musical itself? 3. Describe the harmony used in the song. 4. What is a ‘push’ rhythm and give an example? 5. What is a ‘blue’ not ...
Study Guide Kindergarten Quarter 1 Please work with your son and
... F. Melody: The tune of a piece of music. A series of pitches made to create an agreeable arrangement of sounds. G. Variation: Taking the original sound of a piece of music and changing certain elements of that music (for example; changing the melody, tempo, dynamics, harmony, instrumentation) to cha ...
... F. Melody: The tune of a piece of music. A series of pitches made to create an agreeable arrangement of sounds. G. Variation: Taking the original sound of a piece of music and changing certain elements of that music (for example; changing the melody, tempo, dynamics, harmony, instrumentation) to cha ...
eVirtuoso-Online Lessons Scales Lesson 2
... That major scale is known as the relative major scale to that minor scale. The C major mode’s table above (table 1) showed seven modes that shared the same seven notes. Recall that the first mode is the major scale and the sixth mode is the minor scale. To find the relative minor scale from a major ...
... That major scale is known as the relative major scale to that minor scale. The C major mode’s table above (table 1) showed seven modes that shared the same seven notes. Recall that the first mode is the major scale and the sixth mode is the minor scale. To find the relative minor scale from a major ...
Uniting Orff and Kodály: Best of Both Worlds
... Before Teacher (T) sings “See All the Stars” for the first time he/she says: Boys and girls, will you close your eyes for a moment? I want you to pretend you are outside on a lovely Florida evening. The sun has already gone down and it’s very dark just like what you’re seeing right now with your ...
... Before Teacher (T) sings “See All the Stars” for the first time he/she says: Boys and girls, will you close your eyes for a moment? I want you to pretend you are outside on a lovely Florida evening. The sun has already gone down and it’s very dark just like what you’re seeing right now with your ...
The Lydian Mode - Fundamental Changes
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
... When forming chord progressions to highlight the characteristics of the Lydian mode, some varying techniques are used. Often in rock it is played over a static vamp, and sometimes even the tonic Major 7#11 chord is sustained: Example 14b ...
PhD Degree ABSTRACT and commentary
... music had given the world a language extraordinarily perfect at expressing and satisfying our spiritual and emotional demands. Equally, a lifelong fascination for the extension – even abandonment – of this language, demanded that I look afresh at the fundamentals of musical expression and see how I ...
... music had given the world a language extraordinarily perfect at expressing and satisfying our spiritual and emotional demands. Equally, a lifelong fascination for the extension – even abandonment – of this language, demanded that I look afresh at the fundamentals of musical expression and see how I ...
Tonal Harmony Chapter 3 Introduction to Triads and Seventh
... Interval between the root and the added note is some kind of 7th (major, minor, diminished) o Major seventh (M7) : major triad + major 7th o Major-minor seventh (Mn7) : major triad + minor 7th o Minor seventh (mm7) : minor triad + minor 7th o Half-diminished 7th (ᶲ7): diminished triad + minor 7th ...
... Interval between the root and the added note is some kind of 7th (major, minor, diminished) o Major seventh (M7) : major triad + major 7th o Major-minor seventh (Mn7) : major triad + minor 7th o Minor seventh (mm7) : minor triad + minor 7th o Half-diminished 7th (ᶲ7): diminished triad + minor 7th ...
Dhrupad - Dagarvani.org
... progressive ascent is considered the most dramatic aspect of dhrupad alap. The madhya laya alap introduces a regular pulse, similar to the jor in instrumental music. With this rhythmic component, the vocalist continues the exploration of the raga melody in the same octave range covered earlier, but ...
... progressive ascent is considered the most dramatic aspect of dhrupad alap. The madhya laya alap introduces a regular pulse, similar to the jor in instrumental music. With this rhythmic component, the vocalist continues the exploration of the raga melody in the same octave range covered earlier, but ...
BASIC MATHEMATICAL AND MUSICAL CONCEPTS Sets and
... Note that it is possible for a sequence to be a non-trivial cyclic permutation of itself. For example, if we permute the sequence 3, 5, 3, 3, 5, 3 using i = 3, we get the same sequence. Modality. We have designated the standard scale, in a given key, as a sequence of notes: in C is is the sequence C ...
... Note that it is possible for a sequence to be a non-trivial cyclic permutation of itself. For example, if we permute the sequence 3, 5, 3, 3, 5, 3 using i = 3, we get the same sequence. Modality. We have designated the standard scale, in a given key, as a sequence of notes: in C is is the sequence C ...
AP Music Theory Syllabus
... download Finale notepad for their compositions. All compositions must be computer generated. Overview of syllabus, and course materials Sample Exam found in AP Course Description Pitch and Its Notation Pitch; Notation: The staff and clefs; Ledger lines; The grand staff; Octave designation; The ottav ...
... download Finale notepad for their compositions. All compositions must be computer generated. Overview of syllabus, and course materials Sample Exam found in AP Course Description Pitch and Its Notation Pitch; Notation: The staff and clefs; Ledger lines; The grand staff; Octave designation; The ottav ...
Introduction to Pitch Class Set Analysis
... Prime Form - A set is reduced to its prime form to allow comparison with other sets. If sets were compared in their original form, comparison would be problematic at best. This is the set's BNO represented by numbers. These numbers represent the distance in half-steps above the lowest note in the BN ...
... Prime Form - A set is reduced to its prime form to allow comparison with other sets. If sets were compared in their original form, comparison would be problematic at best. This is the set's BNO represented by numbers. These numbers represent the distance in half-steps above the lowest note in the BN ...
Course: Music Theory II
... Understand how repeated and/or contrasting phrases contribute to song form Be able to hear the form or pattern of a piece of music by focusing on how the composer has organized phrases Understand basic song form styles by identifying phrases or sections of a composition using Letters (ie. A-B-A or A ...
... Understand how repeated and/or contrasting phrases contribute to song form Be able to hear the form or pattern of a piece of music by focusing on how the composer has organized phrases Understand basic song form styles by identifying phrases or sections of a composition using Letters (ie. A-B-A or A ...
ANP_Paper3_MathofMusic
... alter the Major triad in a way that veers from the harmonic series, but still appeals to the second special skill of the brain by including most of the frequency ratios found in a Major triad. The brain will recognize the relative frequencies as it recalls the Major triad, but it is left searching f ...
... alter the Major triad in a way that veers from the harmonic series, but still appeals to the second special skill of the brain by including most of the frequency ratios found in a Major triad. The brain will recognize the relative frequencies as it recalls the Major triad, but it is left searching f ...
www.classclef.com Page 1
... Bis (I) Twice, indicating the repetition of a short passage. Bitonality Approach to pitch organization using two keys at one time, often found in twentiethcentury music. Blues Term referring both to a style of performance and to a form; an early source of jazz, characterized by flatted, or “blue”, n ...
... Bis (I) Twice, indicating the repetition of a short passage. Bitonality Approach to pitch organization using two keys at one time, often found in twentiethcentury music. Blues Term referring both to a style of performance and to a form; an early source of jazz, characterized by flatted, or “blue”, n ...
GLOSSARY for National Core Arts: Music STANDARDS
... Jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes Chord progression______________________ Series of chords sounding in succession; certain progressions are typical in particular styles/genres of music Collaboratively__________ ...
... Jazz or popular music score, often abbreviated, with a melody (including key and time signature) and a set of chord changes Chord progression______________________ Series of chords sounding in succession; certain progressions are typical in particular styles/genres of music Collaboratively__________ ...
Composition ideas for different styles
... should be in three sections with a contrasting middle section. When the first section returns it should be shorter than the original. One section could have the melody in the right hand and the other section could have the melody in the bass. ...
... should be in three sections with a contrasting middle section. When the first section returns it should be shorter than the original. One section could have the melody in the right hand and the other section could have the melody in the bass. ...
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).