![Contrapuntal Techniques in Schoenberg`s Fourth String](http://s1.studyres.com/store/data/003780918_1-43094f48ccbc330338b167757e065f43-300x300.png)
Contrapuntal Techniques in Schoenberg`s Fourth String
... supporting chords are Bsus4, Dma7(no3), and Gma7 (R2T4). The twelfth measure (R2T7) has the Bsus4 in the melody, and the chords are Dma7(no3), Gma7, and E+, the latter coming on on the downbeat of the thirteenth measure. The last row presentation of this phrase (R2T10) has the Dma7(no3) in the mel ...
... supporting chords are Bsus4, Dma7(no3), and Gma7 (R2T4). The twelfth measure (R2T7) has the Bsus4 in the melody, and the chords are Dma7(no3), Gma7, and E+, the latter coming on on the downbeat of the thirteenth measure. The last row presentation of this phrase (R2T10) has the Dma7(no3) in the mel ...
study guide - Center for Traditional Music and Dance
... nations for causing instability. Since the end of 2001, some positive developments have occurred to help work through ethnic and political differences. Today, the Cote d’Ivoire remains one of the world's largest producers and exporters of coffee, cocoa beans, and palm oil. Despite government attemp ...
... nations for causing instability. Since the end of 2001, some positive developments have occurred to help work through ethnic and political differences. Today, the Cote d’Ivoire remains one of the world's largest producers and exporters of coffee, cocoa beans, and palm oil. Despite government attemp ...
Justin`s Quick Guide to Basic Music Theory and Playing by Ear
... explaining the chord, in terms of root, third, and fifth. You may have wondered, “what if I started with the third, then the fifth, and finally the root, what would happen? Would it still be the same chord?” Well my friend, I have an answer for you. Yes and no. It is the same chord in the way that i ...
... explaining the chord, in terms of root, third, and fifth. You may have wondered, “what if I started with the third, then the fifth, and finally the root, what would happen? Would it still be the same chord?” Well my friend, I have an answer for you. Yes and no. It is the same chord in the way that i ...
Tristan, Isolde
... chord from Wagner’s opera. In the pedalling indications, which are marked with a gradually upward-slanting line, it is intended that each player depress the pedal before playing a new chord, and then gradually release it over about 3 seconds whilst sustaining the written pitches with fingers, thus c ...
... chord from Wagner’s opera. In the pedalling indications, which are marked with a gradually upward-slanting line, it is intended that each player depress the pedal before playing a new chord, and then gradually release it over about 3 seconds whilst sustaining the written pitches with fingers, thus c ...
Vocal Techniques
... vocal registers to enhance a word with two very different notes, usually up in scale. (See also yodel.) Harmony: The sound of two or more notes played simultaneously or the progression of chords in a song. Some music theorists have referred to harmony as being everything that isn’t the melody. When ...
... vocal registers to enhance a word with two very different notes, usually up in scale. (See also yodel.) Harmony: The sound of two or more notes played simultaneously or the progression of chords in a song. Some music theorists have referred to harmony as being everything that isn’t the melody. When ...
Vocal Techniques
... enhance a word with two very different notes, usually up in scale. (See also yodel.) Harmony: The sound of two or more notes played simultaneously or the progression of chords in a song. Some music theorists have referred to harmony as being everything that isn’t the melody. When two or more callers ...
... enhance a word with two very different notes, usually up in scale. (See also yodel.) Harmony: The sound of two or more notes played simultaneously or the progression of chords in a song. Some music theorists have referred to harmony as being everything that isn’t the melody. When two or more callers ...
Prelude
... public’s subconscious as a systematic and mature language. Thus Western tonal music language can refer to music that “intonates” in major or minor tonal diatonic scales, “speaks” horizontally in tonal melodies, and vertically in triads or seventh chords, and “communicates” through the functional har ...
... public’s subconscious as a systematic and mature language. Thus Western tonal music language can refer to music that “intonates” in major or minor tonal diatonic scales, “speaks” horizontally in tonal melodies, and vertically in triads or seventh chords, and “communicates” through the functional har ...
Lewin, David “A Formal Theory of Generalized Tonal Functions”
... moves as well. A “Relative”-operation then takes you a minor third down from a major chord and a minor third up from a minor chord. The leap of a major third is called a “Leittone-exchange”. From a major chord a “L”-operation takes you a major third up, from a minor chord the “L”-operation takes you ...
... moves as well. A “Relative”-operation then takes you a minor third down from a major chord and a minor third up from a minor chord. The leap of a major third is called a “Leittone-exchange”. From a major chord a “L”-operation takes you a major third up, from a minor chord the “L”-operation takes you ...
Chopin – Prelude No.15 in Db major, Op.28
... as a G# minor chord. V-I cadence in G# minor in bars 42-43. Strong and powerful section of music achieved through octaves, use of minims and accents on each note. The texture is the reduced to single p quaver G#s ready for a repeat of the whole section so far. ...
... as a G# minor chord. V-I cadence in G# minor in bars 42-43. Strong and powerful section of music achieved through octaves, use of minims and accents on each note. The texture is the reduced to single p quaver G#s ready for a repeat of the whole section so far. ...
ARRANGING FOR STRINGS Part 2
... A one-octave spread is considered “old-fashioned” and dated. “Gaped Octaves” sound much stronger and projects better than a one-octave musical line. This means that the violins will play the upper octave in unison, while the violas and cellos play the same musical line two octaves below. The resulti ...
... A one-octave spread is considered “old-fashioned” and dated. “Gaped Octaves” sound much stronger and projects better than a one-octave musical line. This means that the violins will play the upper octave in unison, while the violas and cellos play the same musical line two octaves below. The resulti ...
5th Grade Music Vocabulary
... Brass: wind instruments made of brass and other metals which are played by blowing through a cup-shaped or funnel-shaped mouthpiece. The main brass instruments of the orchestra are the trumpet, trombone, French horn, and tuba. Percussion: instruments that are played by striking, shaking, or scraping ...
... Brass: wind instruments made of brass and other metals which are played by blowing through a cup-shaped or funnel-shaped mouthpiece. The main brass instruments of the orchestra are the trumpet, trombone, French horn, and tuba. Percussion: instruments that are played by striking, shaking, or scraping ...
Chapter 8 Intervals - G Major Music Theory
... • When intervals occur in music, they do not usually have bottom notes which are the key notes of the piece. That is, the key signature of the piece is not usually the key signature of the bottom note. • To identify an interval whose bottom note is not a key note: 1. Write a new key signature--the k ...
... • When intervals occur in music, they do not usually have bottom notes which are the key notes of the piece. That is, the key signature of the piece is not usually the key signature of the bottom note. • To identify an interval whose bottom note is not a key note: 1. Write a new key signature--the k ...
African Music and the Pre-Jazz Era
... African harmony and melody is equally complex, although to European-trained ears, it often is characterized as simple and primitive. Once again, part of the problem rests with the urge to interpret one culture through the standards of another. One commonly observed quality of African melody is the s ...
... African harmony and melody is equally complex, although to European-trained ears, it often is characterized as simple and primitive. Once again, part of the problem rests with the urge to interpret one culture through the standards of another. One commonly observed quality of African melody is the s ...
rhythm and bowing - Ponca City Public Schools
... Finger Patterns and Scales Finger patterns and scales need to be part of a daily warm-up routine. This is the beginning of achieving outstanding intonation. For variety, different bowings and rhythms can be used. Scales also can be played in rounds or with tonic pitch being held throughout. ...
... Finger Patterns and Scales Finger patterns and scales need to be part of a daily warm-up routine. This is the beginning of achieving outstanding intonation. For variety, different bowings and rhythms can be used. Scales also can be played in rounds or with tonic pitch being held throughout. ...
“jazz” evolution - Cognella Academic Publishing
... Heavy European intervention began in the mid-fifteenth century when European merchants, possessing charters from their monarchs, raided the African coastal areas for slaves, ivory, gold, and hides. The technical advantage they held over the Africans (in weapons of destruction) changed the Africans’ ...
... Heavy European intervention began in the mid-fifteenth century when European merchants, possessing charters from their monarchs, raided the African coastal areas for slaves, ivory, gold, and hides. The technical advantage they held over the Africans (in weapons of destruction) changed the Africans’ ...
Musical Harmony, Mathematics, and Esotericism
... to the octave (eighth). Larger intervals are possible as well, such as the ninth, which is an octave plus a second. In figuring intervals, both the upper and the lower notes are counted, so the interval between adjacent notes is generally referred to as a second, for example. Important intervals, wi ...
... to the octave (eighth). Larger intervals are possible as well, such as the ninth, which is an octave plus a second. In figuring intervals, both the upper and the lower notes are counted, so the interval between adjacent notes is generally referred to as a second, for example. Important intervals, wi ...
John Cage: Sonatas and Interludes: Sonatas I-III
... The twenty movements forming Sonatas and Interludes were not composed in sequence but were later organised symmetrically; every group of four sonatas is separated by an interlude, with the centre marked by two interludes. ...
... The twenty movements forming Sonatas and Interludes were not composed in sequence but were later organised symmetrically; every group of four sonatas is separated by an interlude, with the centre marked by two interludes. ...
Tune Recognition from Melody, Rhythm and Harmony
... The tunes were played in four different versions: melody, rhythm, melody with harmony and rhythm with harmony. In addition, the tunes were played correctly (that is, with all parameters simultaneously) to determine whether the participants really knew the tunes used in the experiment. All versions w ...
... The tunes were played in four different versions: melody, rhythm, melody with harmony and rhythm with harmony. In addition, the tunes were played correctly (that is, with all parameters simultaneously) to determine whether the participants really knew the tunes used in the experiment. All versions w ...
Music
... rounds. They explore going faster and slower in music when working with rhythms. There is an ensemble work where all the children play a pitched classroom instrument as an accompaniment to a song. They listen to music by Mozart where classical instruments are introduced. They create simple compositi ...
... rounds. They explore going faster and slower in music when working with rhythms. There is an ensemble work where all the children play a pitched classroom instrument as an accompaniment to a song. They listen to music by Mozart where classical instruments are introduced. They create simple compositi ...
Intonation, Tuning, and Blending
... ◦ Also known as Resonance or Ghost Tones ◦ The faint presence of a tone whose frequency is equal to the difference between the frequencies of the two notes actually being played. Usually an octave or two lower. ◦ The pitches being played must be adjusted so the fundamental sounds in tune. Trio for ...
... ◦ Also known as Resonance or Ghost Tones ◦ The faint presence of a tone whose frequency is equal to the difference between the frequencies of the two notes actually being played. Usually an octave or two lower. ◦ The pitches being played must be adjusted so the fundamental sounds in tune. Trio for ...
Paul E. Shoremount, Band Director Telephone: (540) 338-0800
... line on the left side of the staves (plural staffs). ...
... line on the left side of the staves (plural staffs). ...
Benward Chapter 9
... Each member of the triad is named in relation to the tone on which the chord is constructed, which is the root of the triad. The note a third above the root is called the third of the triad. The fifth above the root is the fifth of the triad. Triads are named by the root and the quality of sound: th ...
... Each member of the triad is named in relation to the tone on which the chord is constructed, which is the root of the triad. The note a third above the root is called the third of the triad. The fifth above the root is the fifth of the triad. Triads are named by the root and the quality of sound: th ...
Music Theory Notes and Test
... upper indicating the notes to be played by the right hand, the lower indicating the notes to be played by the left hand, bar lines are commonly drawn from the top of the upper line on the upper stave to the bottom line on the lower stave. This is illustrated below. Page 1 of 4 ...
... upper indicating the notes to be played by the right hand, the lower indicating the notes to be played by the left hand, bar lines are commonly drawn from the top of the upper line on the upper stave to the bottom line on the lower stave. This is illustrated below. Page 1 of 4 ...
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).