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Music Theory ==> Basic Level
... very important for the rhythm guitarist. But chords are also very important for the lead guitarist, because the lead phrases must blend with the harmony and not clash with it. In other words, when improvising, you create a melodic line that needs to remain connected with the chord progression played ...
... very important for the rhythm guitarist. But chords are also very important for the lead guitarist, because the lead phrases must blend with the harmony and not clash with it. In other words, when improvising, you create a melodic line that needs to remain connected with the chord progression played ...
Music Theory & Ear Training for Busy Adults
... document is for you whether or not you can read notes. INTRODUCTION The concepts explained in these pages are not immutable rules; they’re guidelines which derive from our culture. This treatise is intended as a concise (7 page) explanation for busy adults. Reading it only once should give you a pas ...
... document is for you whether or not you can read notes. INTRODUCTION The concepts explained in these pages are not immutable rules; they’re guidelines which derive from our culture. This treatise is intended as a concise (7 page) explanation for busy adults. Reading it only once should give you a pas ...
doc
... Pick one of the scales you evaluated (19, 31 or 53) and choose the interval that was the closest to the ideal interval. For this interval, play it in Mathematica in both that scale, the 12-tone equal-tempered scale, and the Pythagorean scale (for the latter you might need to consult a previous hando ...
... Pick one of the scales you evaluated (19, 31 or 53) and choose the interval that was the closest to the ideal interval. For this interval, play it in Mathematica in both that scale, the 12-tone equal-tempered scale, and the Pythagorean scale (for the latter you might need to consult a previous hando ...
Antecedent-Consequent Phrases», Part 1
... Ex. 4 is a jazz etude that transposes the different combinations of antecedent-consequent phrases illustrated in ex.3 through the cycle of fifths. This short study enables the jazz student to explore the phrases in different keys and in diverse positions on the guitar fingerboard. We suggest once ag ...
... Ex. 4 is a jazz etude that transposes the different combinations of antecedent-consequent phrases illustrated in ex.3 through the cycle of fifths. This short study enables the jazz student to explore the phrases in different keys and in diverse positions on the guitar fingerboard. We suggest once ag ...
simpler list of musical terminology
... called a hymn setting, but in common terms hymn refers to the words and music as one. Ictus The point in a conducting pattern where the beat occurs. On written conducting patterns in the hymnbook, it is shown by a tiny circle at the bottom of each curve. A little bounce with the arm and hand at the ...
... called a hymn setting, but in common terms hymn refers to the words and music as one. Ictus The point in a conducting pattern where the beat occurs. On written conducting patterns in the hymnbook, it is shown by a tiny circle at the bottom of each curve. A little bounce with the arm and hand at the ...
Up and Down the Scale
... Other combinations of tones that sound well have frequency ratios that are ratios of whole numbers (integers). It was believed olden times, that this last property makes music “perfect” and was therefore a gift from the gods, not to be screwed with. This allowed Pythagoras to create and unders ...
... Other combinations of tones that sound well have frequency ratios that are ratios of whole numbers (integers). It was believed olden times, that this last property makes music “perfect” and was therefore a gift from the gods, not to be screwed with. This allowed Pythagoras to create and unders ...
An Investigation of Music Genres and Their Rhythmic Motifs Debora C. Correa
... Blues and country genres usually do not aggregate many repeated motifs in their melodies, either in tonal or rhythmic aspects. Both genres receive annotations like complex, sophisticated, sentimental and stylish. Country and blues share similar themes and songs, since blues was a stylistic origin of ...
... Blues and country genres usually do not aggregate many repeated motifs in their melodies, either in tonal or rhythmic aspects. Both genres receive annotations like complex, sophisticated, sentimental and stylish. Country and blues share similar themes and songs, since blues was a stylistic origin of ...
Evolution and Structure in Flamenco Harmony
... In several other cantes (tangos, tientos, siguiriyas, bulerias, soleares, etc.), Phrygian-type tonality (with secondary dominants) predominates throughout. Many of the chords in the Phrygian contexts are altered by the inclusion of nontriadic notes. Whether these alterations are regarded as structur ...
... In several other cantes (tangos, tientos, siguiriyas, bulerias, soleares, etc.), Phrygian-type tonality (with secondary dominants) predominates throughout. Many of the chords in the Phrygian contexts are altered by the inclusion of nontriadic notes. Whether these alterations are regarded as structur ...
12_6_Deeper_Reading_Scales_and_Tuning
... accidentals a particular major scale will have. An easy, but time consuming, way to do this would be to use the pattern of tone/tone/semitone/etc... given above. If we choose to write the scale of D-major, we know immediately that the scale begins on a D. The next note will be a tone above - an E. T ...
... accidentals a particular major scale will have. An easy, but time consuming, way to do this would be to use the pattern of tone/tone/semitone/etc... given above. If we choose to write the scale of D-major, we know immediately that the scale begins on a D. The next note will be a tone above - an E. T ...
Musical Scales and Tuning
... accidentals a particular major scale will have. An easy, but time consuming, way to do this would be to use the pattern of tone/tone/semitone/etc... given above. If we choose to write the scale of D-major, we know immediately that the scale begins on a D. The next note will be a tone above - an E. T ...
... accidentals a particular major scale will have. An easy, but time consuming, way to do this would be to use the pattern of tone/tone/semitone/etc... given above. If we choose to write the scale of D-major, we know immediately that the scale begins on a D. The next note will be a tone above - an E. T ...
File - Music by Heart Studio
... con fuoco, con passione, dolce, giocoso, and mesto were increasingly used as an indication of their intention to the performers. These terms also indicate the frame of mind of the composers of the period. Music of this period, both vocal and instrumental, was influenced by the lyricism of the human ...
... con fuoco, con passione, dolce, giocoso, and mesto were increasingly used as an indication of their intention to the performers. These terms also indicate the frame of mind of the composers of the period. Music of this period, both vocal and instrumental, was influenced by the lyricism of the human ...
What are Musical Scales?
... "Monique Witting, in her book ‘Lesbian Peoples’, writes that the Lydians were a tribe of Amazons that settled on Crete." (Gardner, K. 1990 p136) In his book ‘The Republic’ Plato says that playing music in a particular ‘harmonia’ (mode) would incline one towards specific behaviours associated with i ...
... "Monique Witting, in her book ‘Lesbian Peoples’, writes that the Lydians were a tribe of Amazons that settled on Crete." (Gardner, K. 1990 p136) In his book ‘The Republic’ Plato says that playing music in a particular ‘harmonia’ (mode) would incline one towards specific behaviours associated with i ...
Listening Journal Approach to Outcome 2
... stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses sequences, tonality – scale forms, modal,contour, draw a line-graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), motive, register, unison, chromaticism ...
... stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses sequences, tonality – scale forms, modal,contour, draw a line-graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), motive, register, unison, chromaticism ...
Listening Journal - AMUSE Professional Learning
... stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses sequences, tonality – scale forms, modal,contour, draw a line-graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), motive, register, unison, chromaticism ...
... stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses sequences, tonality – scale forms, modal,contour, draw a line-graph of the phrase shape, upbeat, anacrusis, angular contour (leaps), motive, register, unison, chromaticism ...
ROCKY FORD CURRICULUM GUIDE SUBJECT: Music GRADE: 3
... We will create phrases on a treble clef staff. ...
... We will create phrases on a treble clef staff. ...
Music of the Middle Ages – Chant after 1000 AD
... Using the rhythmic modes, in addition to polyphonic practices such as organum and discant, new forms started to be created by composers that are unfortunately lost to history. Many of the great composers of the Middle Ages remain anonymous though we have many examples of their fine work and musical ...
... Using the rhythmic modes, in addition to polyphonic practices such as organum and discant, new forms started to be created by composers that are unfortunately lost to history. Many of the great composers of the Middle Ages remain anonymous though we have many examples of their fine work and musical ...
On Ben Johnston`s Notation and the Performance
... into 12 equal but irrational proportions was a product of a time obsessed with industrial standardization and mass production. In Schönberg’s words: a reduction of natural relations to manageable ones. Its ubiquity in Western musical thinking, epitomized by the pianos which were once present in ever ...
... into 12 equal but irrational proportions was a product of a time obsessed with industrial standardization and mass production. In Schönberg’s words: a reduction of natural relations to manageable ones. Its ubiquity in Western musical thinking, epitomized by the pianos which were once present in ever ...
midterm review test
... 12. Which one of the following musical terms is an Articulation? a. Pianissimo b .Vivace c. Treble Clef d. Staccato 13. Which rest is a Half Rest? a. b. c. d. 14. The dynamic marking ‘f ’ means? a. b. c. d. ...
... 12. Which one of the following musical terms is an Articulation? a. Pianissimo b .Vivace c. Treble Clef d. Staccato 13. Which rest is a Half Rest? a. b. c. d. 14. The dynamic marking ‘f ’ means? a. b. c. d. ...
Intervals
... P5 + P4 = P8; the total number of half steps they contain is 12. If the classes of two intervals add up to 9 (or an octave) they are inversions of each other The inversion of a perfect interval is a perfect interval The inversion of a major interval is a minor interval, and vice versa The ...
... P5 + P4 = P8; the total number of half steps they contain is 12. If the classes of two intervals add up to 9 (or an octave) they are inversions of each other The inversion of a perfect interval is a perfect interval The inversion of a major interval is a minor interval, and vice versa The ...
Comparative (Ethno)Musicology. - Institut 13: Ethnomusikologie
... more interpretative parameters such as tempo, phrasing, accentuation, timbre, etc. the extent to which such decisions may be made by some members of a gamelan ensemble, and thus the issue of their would-be “improvisatory” nature, can best be understood by comparing it to another musical system where ...
... more interpretative parameters such as tempo, phrasing, accentuation, timbre, etc. the extent to which such decisions may be made by some members of a gamelan ensemble, and thus the issue of their would-be “improvisatory” nature, can best be understood by comparing it to another musical system where ...
Beethoven / Kant - Thomas Owen Mastroianni
... occupy 8 measures of space. The next 5 measures of transition continue the ever present and almost metronomic bass motion under a high register figuration resembling a finger exercise. This short transition leads to a repetition of the opening two phrases of parallel space with three alterations: 1 ...
... occupy 8 measures of space. The next 5 measures of transition continue the ever present and almost metronomic bass motion under a high register figuration resembling a finger exercise. This short transition leads to a repetition of the opening two phrases of parallel space with three alterations: 1 ...
Overview - West Ada
... Recognize harmonies as consonant or dissonant. Recognize moments of tension and release in music (i.e. cadences, progressions, non-harmonic tones). In an aural example, determine when the chord changes. Recognize repetition and patterns that shape form at many levels Analyze various musica ...
... Recognize harmonies as consonant or dissonant. Recognize moments of tension and release in music (i.e. cadences, progressions, non-harmonic tones). In an aural example, determine when the chord changes. Recognize repetition and patterns that shape form at many levels Analyze various musica ...
Towards the Digital Music Library: Tune Retrieval from Acoustic Input
... to musical intervals rather than to any standard. MT is able to do either. In adaptive tuning mode, the system assumes that the user will sing to A-440, but then adjusts by referencing each note to its predecessor. For example, if a user sings three notes, 5990 cents, 5770 cents and 5540 cents above ...
... to musical intervals rather than to any standard. MT is able to do either. In adaptive tuning mode, the system assumes that the user will sing to A-440, but then adjusts by referencing each note to its predecessor. For example, if a user sings three notes, 5990 cents, 5770 cents and 5540 cents above ...
Beethoven Septet in Eb, mvt
... This is 20th century music, and Poulenc has a distinctive take on traditional harmony, derived in part from Stravinsky’s Neo-Classical scores such as Pulcinella (Anthology p.139) in which standard chords are sometimes spiced with free dissonances to give a familiar yet piquant effect (b.4, beat 1: C ...
... This is 20th century music, and Poulenc has a distinctive take on traditional harmony, derived in part from Stravinsky’s Neo-Classical scores such as Pulcinella (Anthology p.139) in which standard chords are sometimes spiced with free dissonances to give a familiar yet piquant effect (b.4, beat 1: C ...
Modern harmony, its explanation and application - DMU
... gjijig fgr much miscomprehension, and composers must not be blamed for using our rather clumsy notational method in unconventional ways. The " twelve-note " and the "tonal" scales strain the system almost to breaking-point, and it is curious to find people asserting that therefore the notation is al ...
... gjijig fgr much miscomprehension, and composers must not be blamed for using our rather clumsy notational method in unconventional ways. The " twelve-note " and the "tonal" scales strain the system almost to breaking-point, and it is curious to find people asserting that therefore the notation is al ...
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).