La-re-so: Teaching the Tibetan Dranyen through Solfege Mason
... strings is the lowest in pitch while the second course is the highest in pitch. The strings are tuned to scale degrees 6, 2, and 5, with 5 being below 1 and 6 below 2.3 Thus, when the diatonic scale is played, the scale is re-entered, at an octave below, on scale degree 5 (fig. 2). Since the dranyen ...
... strings is the lowest in pitch while the second course is the highest in pitch. The strings are tuned to scale degrees 6, 2, and 5, with 5 being below 1 and 6 below 2.3 Thus, when the diatonic scale is played, the scale is re-entered, at an octave below, on scale degree 5 (fig. 2). Since the dranyen ...
Documentation for the Music Theory Ontology
... developed the sorts of analytic tools we hope to provide. The Music Ontology1 in particular is broadly used, but the terms it defines are suitable for describing only such external features of musical compositions and performances as where, when, and by whom they were written or performed. This is a ...
... developed the sorts of analytic tools we hope to provide. The Music Ontology1 in particular is broadly used, but the terms it defines are suitable for describing only such external features of musical compositions and performances as where, when, and by whom they were written or performed. This is a ...
Burgundy—15th-century music
... The most composed by the musicians at the Burgundian courts were the chanson and the rondeau, especially the rondeau in three voices. Typically these were in French, though there are a few in other languages. Most of the composers also wrote sacred music in Latin; this was to remain true for the nex ...
... The most composed by the musicians at the Burgundian courts were the chanson and the rondeau, especially the rondeau in three voices. Typically these were in French, though there are a few in other languages. Most of the composers also wrote sacred music in Latin; this was to remain true for the nex ...
Area of Study 4
... The drone is a replacement for a real sense of harmony like Western Music. The notes are usually the Tonic and Dominant (I – V) of a chosen Rag. It keeps a sense of tuning/ intonation as a reference point for the melodic parts. ...
... The drone is a replacement for a real sense of harmony like Western Music. The notes are usually the Tonic and Dominant (I – V) of a chosen Rag. It keeps a sense of tuning/ intonation as a reference point for the melodic parts. ...
Read full article in PDF version - Analytical Approaches To World
... provide a central beat, usually on every first and second count. It acts as the temporal reference to which all the other instruments relate. The largest of the four drums is the mbuutu, whose player uses both hands to play repetitive and cyclical rhythms based on word simulations.For a long time, b ...
... provide a central beat, usually on every first and second count. It acts as the temporal reference to which all the other instruments relate. The largest of the four drums is the mbuutu, whose player uses both hands to play repetitive and cyclical rhythms based on word simulations.For a long time, b ...
Kamavardhini and the Blues scale – just one step and one note
... Just a step away 1. Blues to Kamavardhini : add a note one step below the root of the blues scale. start playing the blues scale from that note one step below the root, and we have the kamavardhini raga's notes. C blues scale? Add the note one step below C, which is B, and start playing the blues sc ...
... Just a step away 1. Blues to Kamavardhini : add a note one step below the root of the blues scale. start playing the blues scale from that note one step below the root, and we have the kamavardhini raga's notes. C blues scale? Add the note one step below C, which is B, and start playing the blues sc ...
extracting vocal melody from karaoke music audio
... Extracting the melody from polyphonic musical audio is a nontrivial research problem. This paper presents an approach for vocal melody extraction from dual channel Karaoke music audio. The extracted melody corresponds to the singing voice in the original performance channel, which can then be used f ...
... Extracting the melody from polyphonic musical audio is a nontrivial research problem. This paper presents an approach for vocal melody extraction from dual channel Karaoke music audio. The extracted melody corresponds to the singing voice in the original performance channel, which can then be used f ...
COLOR
... We sometimes refer to some harmonies or chords (combinations of pitches) with particular dissonances in them as being “colorful” – this is a good term to use, but do not confuse it with timbre, which is sound quality that is independent of pitch and harmony. The musical term “chromatic” – which appl ...
... We sometimes refer to some harmonies or chords (combinations of pitches) with particular dissonances in them as being “colorful” – this is a good term to use, but do not confuse it with timbre, which is sound quality that is independent of pitch and harmony. The musical term “chromatic” – which appl ...
glossary of musical terms - Western Michigan University
... "stops" allow the player to open or close the flow of air to selected groups of pipes) organum: (genre) a type of early French Medieval polyphony dating from c. 1000-1200, featuring a slow non-metered chant in the lowest voice with one or more faster metrical voices sung above (in melismatic style—m ...
... "stops" allow the player to open or close the flow of air to selected groups of pipes) organum: (genre) a type of early French Medieval polyphony dating from c. 1000-1200, featuring a slow non-metered chant in the lowest voice with one or more faster metrical voices sung above (in melismatic style—m ...
Instrumental Music Interm 1st 9 weeks
... 7.IM.2.3.2 Demonstrate a fundamental knowledge of breathing, bowing, embouchure, fingering, articulation, and/or percussion ...
... 7.IM.2.3.2 Demonstrate a fundamental knowledge of breathing, bowing, embouchure, fingering, articulation, and/or percussion ...
Whole tone scale
... only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. Art Tatum and Thelonious Monk ...
... only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. Art Tatum and Thelonious Monk ...
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 ...
MUSIC OFFICE - SONGWRITING SESSIONS SESSION 1 – HARMONY Introduction
... You can also modulate to unrelated chords. It is fun to experiment with these, and finding ways to get from one to another – it may be that to get from C to Ab you go through the cycle of fifths, creating a series of V -> I progressions until finally landing in your new unrelated key. Chord modulati ...
... You can also modulate to unrelated chords. It is fun to experiment with these, and finding ways to get from one to another – it may be that to get from C to Ab you go through the cycle of fifths, creating a series of V -> I progressions until finally landing in your new unrelated key. Chord modulati ...
Prime Numbers in Music Tonality
... use, but how many evenly spaced steps to use. One can certainly build a scale out of whole ratios and then equally temper the results, but this may defeat the purpose of the whole ratios in the first place. The concept of dissonance has played the fundamental role in shaping the sets of ratios in ou ...
... use, but how many evenly spaced steps to use. One can certainly build a scale out of whole ratios and then equally temper the results, but this may defeat the purpose of the whole ratios in the first place. The concept of dissonance has played the fundamental role in shaping the sets of ratios in ou ...
21M.350 Musical Analysis
... the first variation violin 1 played eighth notes with eighth note rests preceding many of the motives, the violin now finds itself playing sixteenth note motives, with sixteenth note rests. Reduction shows these notes to be different from notes played in previous variations or the theme itself, but ...
... the first variation violin 1 played eighth notes with eighth note rests preceding many of the motives, the violin now finds itself playing sixteenth note motives, with sixteenth note rests. Reduction shows these notes to be different from notes played in previous variations or the theme itself, but ...
Friday, March 13, 2015 at 8pm NEC`s Jordan Hall Daniil Trifonov
... regularly called to different cities to critique a new organ built for the local church and often to play a demonstration recital on it.) But by the 19th century, relatively few organists performed this music. Many composers—Liszt and later Busoni among them—felt strongly that they deserved frequent ...
... regularly called to different cities to critique a new organ built for the local church and often to play a demonstration recital on it.) But by the 19th century, relatively few organists performed this music. Many composers—Liszt and later Busoni among them—felt strongly that they deserved frequent ...
The Rise of 6 in the Nineteenth Century
... a working model of the major mode Today, a discussion of the major scale’s dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus exists concerning these dynamics: the “active”/“dynamic”/“dependent” degrees progress stepwise to the “stable” ...
... a working model of the major mode Today, a discussion of the major scale’s dynamic nature has become a near-obligatory component of harmony textbooks, if only a token one. A broad consensus exists concerning these dynamics: the “active”/“dynamic”/“dependent” degrees progress stepwise to the “stable” ...
National 4 Concepts
... The bass guitar is pitched lower than a guitar. It is an electric string instrument and has only four strings, two fewer than an electric guitar. It needs to be plugged into an amplifier to be heard. ...
... The bass guitar is pitched lower than a guitar. It is an electric string instrument and has only four strings, two fewer than an electric guitar. It needs to be plugged into an amplifier to be heard. ...
B Chapter 1: Introduction and Basics Learning about Chords, Scales, and Intervals.
... the right. Note: as you move to the left on a piano the pitch of the notes get deeper or lower. As you move to the right the pitch of the notes get higher. Often you will hear someone say, “move down the keyboard”. This means to the left. And if they say, “move up the keyboard”, they mean to the rig ...
... the right. Note: as you move to the left on a piano the pitch of the notes get deeper or lower. As you move to the right the pitch of the notes get higher. Often you will hear someone say, “move down the keyboard”. This means to the left. And if they say, “move up the keyboard”, they mean to the rig ...
Haydn: Symphony No. 26 in D minor, `Lamentatione`: Movement I
... • The number of instrumental lines normally exceeds the number of parts, because of doubling. • In bars 1–8 and similar passages, there are essentially only two parts, each doubled in octave(s) plus horns prolonging or doubling some notes. This prominent two-part texture is a reminder that in much C ...
... • The number of instrumental lines normally exceeds the number of parts, because of doubling. • In bars 1–8 and similar passages, there are essentially only two parts, each doubled in octave(s) plus horns prolonging or doubling some notes. This prominent two-part texture is a reminder that in much C ...
Shepard Tones - Virtual Math Museum
... If you misread the name of this exhibit, you may have expected to hear some pretty music played on a set of shepherd’s pipes. Instead what you heard was a sequence of notes that probably sounded rather unmusical, and may have at first appeared to keep on rising indefinitely, “one note at a time”. B ...
... If you misread the name of this exhibit, you may have expected to hear some pretty music played on a set of shepherd’s pipes. Instead what you heard was a sequence of notes that probably sounded rather unmusical, and may have at first appeared to keep on rising indefinitely, “one note at a time”. B ...
Document
... – Limited to ~ 300 Hz – Not as salient as place+temporal (Burns & Viemeister, 1983) – Maybe can be used to represent low pitch notes? – At least the pitch can be accurately represented – Less top-down pattern matching task ...
... – Limited to ~ 300 Hz – Not as salient as place+temporal (Burns & Viemeister, 1983) – Maybe can be used to represent low pitch notes? – At least the pitch can be accurately represented – Less top-down pattern matching task ...
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).