Seventh Chords
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
... The method of approach to harmonization of the chorale remains unchanged. The student must first approach the harmonization as if he intended to use triads. After the framework is decided upon, the fourvoice solution may be worked into a contrapuntal harmonic style – an increased melodic inter ...
Tripod Notation article
... so is a subminor third. This chord, formed by placing a perfect fifth and a subminor third above the root, is then a subminor triad. The nine-limit otonality is formed by a major triad on the root and a subminor triad on the fifth. In both cases, the three notes of the triad are on different feet. I ...
... so is a subminor third. This chord, formed by placing a perfect fifth and a subminor third above the root, is then a subminor triad. The nine-limit otonality is formed by a major triad on the root and a subminor triad on the fifth. In both cases, the three notes of the triad are on different feet. I ...
FREE Sample Here
... Learning Objective: Explain the techniques that create musical form Learning Objective: Understand phrase, cadence, theme, and sequence in melody Topic: harmony Topic: key or tonality Topic: musical techniques ...
... Learning Objective: Explain the techniques that create musical form Learning Objective: Understand phrase, cadence, theme, and sequence in melody Topic: harmony Topic: key or tonality Topic: musical techniques ...
Experience-Music-4th-Edition-Charlton-Test-Bank
... Part 01 - The Fundamentals of Music (Chapters 1 to 3) ...
... Part 01 - The Fundamentals of Music (Chapters 1 to 3) ...
Understanding Temperaments
... 1.1 The problem The need for temperament arises because it is impossible to have octaves, fifths, thirds, etc., all pure at once, or, in other words, because the ratios of the different pure intervals are incompatible. Two important examples will demonstrate this. Suppose we start on C and tune up 1 ...
... 1.1 The problem The need for temperament arises because it is impossible to have octaves, fifths, thirds, etc., all pure at once, or, in other words, because the ratios of the different pure intervals are incompatible. Two important examples will demonstrate this. Suppose we start on C and tune up 1 ...
Intonation Variables in the Performance of Twelve
... long determined intonation preferences apparently continue to override any supposed conditioning to equal-tempered tuning. Twelve-tone music, despite the multiplicity of enharmonic notation possibilities, is intended as a music having only twelve different “pitch classes”; yet the intonation scheme ...
... long determined intonation preferences apparently continue to override any supposed conditioning to equal-tempered tuning. Twelve-tone music, despite the multiplicity of enharmonic notation possibilities, is intended as a music having only twelve different “pitch classes”; yet the intonation scheme ...
PDF text
... [3] But how might “theme” itself best be defined? First and foremost, a theme must in some way be characteristic in order that it may be recognized as an important element in a film. As Bribitzer-Stull puts it, a theme must employ (and retain) a variety of identifiable musical parameters. These may ...
... [3] But how might “theme” itself best be defined? First and foremost, a theme must in some way be characteristic in order that it may be recognized as an important element in a film. As Bribitzer-Stull puts it, a theme must employ (and retain) a variety of identifiable musical parameters. These may ...
Aspects of Singing Nazrul Sangeet
... contours of a song during a performance, each vocalist is likely to enhance their rendition with characteristic Hindustani Classical ornamentations or alankaar18 including meend19 and murki20. Compared to bouts of extended improvisation, these vocal embellishments are less explicit by virtue of taki ...
... contours of a song during a performance, each vocalist is likely to enhance their rendition with characteristic Hindustani Classical ornamentations or alankaar18 including meend19 and murki20. Compared to bouts of extended improvisation, these vocal embellishments are less explicit by virtue of taki ...
Modes and Ragas: More Than just a Scale
... We don't have any recordings of ancient music, so we do not know exactly what it sounded like. But we can make some educated guesses as to what music from ancient Greek and Roman times really sounded like, based on their writings. We know, for example, that they used modes based on tetrachords, mini ...
... We don't have any recordings of ancient music, so we do not know exactly what it sounded like. But we can make some educated guesses as to what music from ancient Greek and Roman times really sounded like, based on their writings. We know, for example, that they used modes based on tetrachords, mini ...
Understanding Basic Music Theory
... on patterns discovered by the theoreticians, which is why there are usually plenty of "exceptions" to every rule. Attempts to develop a new language by rst inventing the grammar and spelling never seem to result in a language that people nd useful. Music theory, too, always comes along after a gro ...
... on patterns discovered by the theoreticians, which is why there are usually plenty of "exceptions" to every rule. Attempts to develop a new language by rst inventing the grammar and spelling never seem to result in a language that people nd useful. Music theory, too, always comes along after a gro ...
NAMING AND SINGING NOTES
... ¶ If associating a name with a pitch is what matters, why not just use letter names instead of fixed-do syllables? Good question. The main reason that I do not use the English letters with notes and pitches concerns our voice. Letters in English are inherently awkward to speak or sing. This is obvio ...
... ¶ If associating a name with a pitch is what matters, why not just use letter names instead of fixed-do syllables? Good question. The main reason that I do not use the English letters with notes and pitches concerns our voice. Letters in English are inherently awkward to speak or sing. This is obvio ...
Dissonant Harmony and “Seed-Tones”
... would have violated his campaign against formalism” (1999, 135). After observing that “the most fundamental of Rudhyar’s theories had to do with ‘tone,’ an elusive concept grounded in his utopian hopes,” Oja concludes that “‘tone,’ as manifested in Rudhyar’s own music, was achieved mainly through a ...
... would have violated his campaign against formalism” (1999, 135). After observing that “the most fundamental of Rudhyar’s theories had to do with ‘tone,’ an elusive concept grounded in his utopian hopes,” Oja concludes that “‘tone,’ as manifested in Rudhyar’s own music, was achieved mainly through a ...
... left unresolved altogether for dramatic effect, or the entire chord may simply slide up or down by step to another seventh chord. In common-practice tonal music, for example, composers typically would not end a piece with a 17 or i7, yet tonic chords at the end of ajazz standard may be embellished w ...
1 LAPPEENRANTA UNIVERSITY OF TECHNOLOGY Faculty
... Music has been a part of human culture since the dawn of time. Musical styles and instruments have varied with continents and eras. At the same time, different options for used notes and pitches are numerous. Yet culturally independent similarities exist. The human ear usually considers simple frequ ...
... Music has been a part of human culture since the dawn of time. Musical styles and instruments have varied with continents and eras. At the same time, different options for used notes and pitches are numerous. Yet culturally independent similarities exist. The human ear usually considers simple frequ ...
on the relation of musical topoi to formal function
... almost always associated with an initiating formal function. At the level of the phrase, that function emphasizes the stability of root-position tonic and typically employs ascending gestures that open up melodic space. The rocket topic includes both of these characteristics in that it always consis ...
... almost always associated with an initiating formal function. At the level of the phrase, that function emphasizes the stability of root-position tonic and typically employs ascending gestures that open up melodic space. The rocket topic includes both of these characteristics in that it always consis ...
Recondite Harmony
... Baron Fassini Camossi, a former diplomat in China whom Puccini met at Bagni di Lucca in August 1920.31 The other was a book, Chinese Music by. J.A. Van Aalst,32 which had been sent to him by Carlo Clausetti.33 The specific uses of these tunes have been well documented many times over and will not be ...
... Baron Fassini Camossi, a former diplomat in China whom Puccini met at Bagni di Lucca in August 1920.31 The other was a book, Chinese Music by. J.A. Van Aalst,32 which had been sent to him by Carlo Clausetti.33 The specific uses of these tunes have been well documented many times over and will not be ...
A GUIDE TO PEDAGOGICAL RESOURCES FOR IMPROVISATION
... lines. 1 The pizzicato walking lines played on the bass are a type of improvisation in which a player outlines or implies the harmony of a chord. Jazz bass technique also extends to more melodic content and solos played with the bow. Jimmy Blanton was a jazz bass virtuoso in the late 1930s and earl ...
... lines. 1 The pizzicato walking lines played on the bass are a type of improvisation in which a player outlines or implies the harmony of a chord. Jazz bass technique also extends to more melodic content and solos played with the bow. Jimmy Blanton was a jazz bass virtuoso in the late 1930s and earl ...
An Analysis of Karlheinz Stockhausen`s Traum
... The outcome of this strategy is evident in the development of Stockhausen's musical language and is illustrated most graphically in the transcendent progression of his formal structures. Each new structural approach developed by Stockhausen during the 1950s and '60s was superseded by one that took h ...
... The outcome of this strategy is evident in the development of Stockhausen's musical language and is illustrated most graphically in the transcendent progression of his formal structures. Each new structural approach developed by Stockhausen during the 1950s and '60s was superseded by one that took h ...
Music Notation Symbols
... Connects staffs. Two or more staffs are needed for a brace. Piano music is a great example of this. ...
... Connects staffs. Two or more staffs are needed for a brace. Piano music is a great example of this. ...
Chopin
... In the present study I would like to point out another "futuristic" aspect of Chopin's œuvre: structural coherence understood as a latent logic of the unity in multiplicity. Studies of transformational changes in Chopin's style (c.f. Gołąb 1993, Tuchowski 1996) reveal that structural coherence achi ...
... In the present study I would like to point out another "futuristic" aspect of Chopin's œuvre: structural coherence understood as a latent logic of the unity in multiplicity. Studies of transformational changes in Chopin's style (c.f. Gołąb 1993, Tuchowski 1996) reveal that structural coherence achi ...
Chapter One Introduction to Quarter
... with non-microtonal music. Even though the repertoire of microtonal compositions is growing, theorists have not yet isolated some of the basic issues that this music engages. In this dissertation, I begin to address this lacuna by examining quarter-tone music.1 This introductory chapter considers fu ...
... with non-microtonal music. Even though the repertoire of microtonal compositions is growing, theorists have not yet isolated some of the basic issues that this music engages. In this dissertation, I begin to address this lacuna by examining quarter-tone music.1 This introductory chapter considers fu ...
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).