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Music in the Renaissance
... the “backbone” of the composition; the superius coordinated with the tenor to create a structural pair, and a contratenor filled out the harmonies and enlivened the rhythms. This foundation continued to serve music throughout the Renaissance, even as the number of voices in a composition increased f ...
... the “backbone” of the composition; the superius coordinated with the tenor to create a structural pair, and a contratenor filled out the harmonies and enlivened the rhythms. This foundation continued to serve music throughout the Renaissance, even as the number of voices in a composition increased f ...
Studio Piano - theperfectutor.org
... Define the scale. In music, a scale is a sequence of musical notes in ascending and descending order that provides material for or is used to conveniently represent part or all of a musical work including melody and/or harmony.[1] Scales are ordered in pitch or pitch class, with their ordering provi ...
... Define the scale. In music, a scale is a sequence of musical notes in ascending and descending order that provides material for or is used to conveniently represent part or all of a musical work including melody and/or harmony.[1] Scales are ordered in pitch or pitch class, with their ordering provi ...
This Worldes Joie Part 3 analysis
... seemingly disparate musical ideas contained within this movement are integrated. A recurring musical motif in this movement – both melodic and harmonic – is one that consists of three notes formed from a perfect 4th and an augmented 4th above the same “root”, e.g., B-E-F; sometimes a fourth note is ...
... seemingly disparate musical ideas contained within this movement are integrated. A recurring musical motif in this movement – both melodic and harmonic – is one that consists of three notes formed from a perfect 4th and an augmented 4th above the same “root”, e.g., B-E-F; sometimes a fourth note is ...
Understanding Chord Symbols - Florida Music Education Associations
... Minor chords, with the exception of the minor seventh chord (Cmi7) function essentially the same way as major chords. The extensions indicated are derived from the ascending melodic minor form of the scale, in essence just a major scale with a flatted third. Hence, the symbol Cmi6/9 represents the ...
... Minor chords, with the exception of the minor seventh chord (Cmi7) function essentially the same way as major chords. The extensions indicated are derived from the ascending melodic minor form of the scale, in essence just a major scale with a flatted third. Hence, the symbol Cmi6/9 represents the ...
extraction of the melody pitch contour from polyphonic - Music
... melody pitch contour from polyphonic musical audio. We use mainly a data-driven approach – implementing standard audio signal processing techniques like Fourier analysis, instantaneous frequency estimation and sinusoidal extraction. Nevertheless, some high level knowledge is applied. Examples of suc ...
... melody pitch contour from polyphonic musical audio. We use mainly a data-driven approach – implementing standard audio signal processing techniques like Fourier analysis, instantaneous frequency estimation and sinusoidal extraction. Nevertheless, some high level knowledge is applied. Examples of suc ...
Tonal Harmony Chapter 1 Elements of Pitch
... Natural minor scale is like a major scale with lowered 3rd, 6th, 7th Harmonic minor scale can be thought of as natural minor with a raised 7th, or as major with lowered 3rd and 6th Melodic minor scale (ascending) is like natural minor with a raised 6th and 7th Melodic minor scale (descending ...
... Natural minor scale is like a major scale with lowered 3rd, 6th, 7th Harmonic minor scale can be thought of as natural minor with a raised 7th, or as major with lowered 3rd and 6th Melodic minor scale (ascending) is like natural minor with a raised 6th and 7th Melodic minor scale (descending ...
Intervals Perfect Intervals
... Intervals An Interval is the distance between two notes. In level one we learned to name intervals by number: ...
... Intervals An Interval is the distance between two notes. In level one we learned to name intervals by number: ...
intervals and scales
... notes). Example 1 is a C Major scale; every letter in ascending order from C to high C. In choir practice we often sing major scales during our warmup. The order of semitones and whole tones in the scale defines the type of scale. The order of whole tones and semitones for a major scale is: W W S W ...
... notes). Example 1 is a C Major scale; every letter in ascending order from C to high C. In choir practice we often sing major scales during our warmup. The order of semitones and whole tones in the scale defines the type of scale. The order of whole tones and semitones for a major scale is: W W S W ...
The History of Music, Second Edition
... unprecedented prosperity. The Church lost its monopoly over the arts as more private individuals began supporting artists and musicians, even posing for sculptures and paintings. All the arts were stimulated by this explosion in ideas and opportunities. Because Italians had not reached the same leve ...
... unprecedented prosperity. The Church lost its monopoly over the arts as more private individuals began supporting artists and musicians, even posing for sculptures and paintings. All the arts were stimulated by this explosion in ideas and opportunities. Because Italians had not reached the same leve ...
SINGING AS SPIRITUAL FOOD – THE KODALY METHOD
... used the syllables ut, re, mi, fa, so , la as mnemonic devices to train his singers), Kodály saw this in the work of Sarah Glover’s and John Curwen’s movable-do system in England which was being used nationwide as part of choral training. Melodic sequence and pentatony. Again, scale degrees are intr ...
... used the syllables ut, re, mi, fa, so , la as mnemonic devices to train his singers), Kodály saw this in the work of Sarah Glover’s and John Curwen’s movable-do system in England which was being used nationwide as part of choral training. Melodic sequence and pentatony. Again, scale degrees are intr ...
MUL 2010 “Enjoyment of Music
... The 4 Parameters of Sound • Pitch = the frequency of vibration (heard as “high” vs. “low”) • Duration = the length of time a sound lasts (heard as aspects of rhythm) • Timbre = tone color (the source of the sound, i.e., instrument, voice, other) • Dynamics = Loudness/Softness ...
... The 4 Parameters of Sound • Pitch = the frequency of vibration (heard as “high” vs. “low”) • Duration = the length of time a sound lasts (heard as aspects of rhythm) • Timbre = tone color (the source of the sound, i.e., instrument, voice, other) • Dynamics = Loudness/Softness ...
Harmony as a Strategy for Beneficial Change by Richard A. Schultz
... While simple on the surface, the concept of a harmonious chord is complex. The same set of notes sounded in different octaves creates a suite of chords, which plays differently on the listener. A chord sounded in a low octave may be viewed as powerful; one in a middle octave as relaxing; and one in ...
... While simple on the surface, the concept of a harmonious chord is complex. The same set of notes sounded in different octaves creates a suite of chords, which plays differently on the listener. A chord sounded in a low octave may be viewed as powerful; one in a middle octave as relaxing; and one in ...
DCVLE - AP Central - The College Board
... 3. Overlapping or crossed voices. (See DCVLE, numbers 7 and 8.) 4. A chordal seventh approached by a descending leap. C. Award no points for voice leading between two correctly realized chords if any of the following statements is true: 1. Parallel octaves, fifths, or unisons occur (immediately succ ...
... 3. Overlapping or crossed voices. (See DCVLE, numbers 7 and 8.) 4. A chordal seventh approached by a descending leap. C. Award no points for voice leading between two correctly realized chords if any of the following statements is true: 1. Parallel octaves, fifths, or unisons occur (immediately succ ...
indian raga - Life Learning Cloud
... The notes in a Rag vary – some have 5 notes like a pentatonic scale whilst others have 7 or 8 notes ...
... The notes in a Rag vary – some have 5 notes like a pentatonic scale whilst others have 7 or 8 notes ...
PPT
... King's College London on a musical data-retrieval project: Musical Similarity and Melodic Recognition. Currently, he is working as a research fellow at the Austrian Research Institute for Artificial Intelligence on the project: Artificial Intelligence Models of Musical ...
... King's College London on a musical data-retrieval project: Musical Similarity and Melodic Recognition. Currently, he is working as a research fellow at the Austrian Research Institute for Artificial Intelligence on the project: Artificial Intelligence Models of Musical ...
Musical expectancy
... The Formation of Musical Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors ...
... The Formation of Musical Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors ...
AP Music Theory Syllabus
... 5. Name and recognize scale degree terms, e.g., tonic, supertonic, etc. 6. Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only). 7. Notate, hear, and identify whole tone and pentatonic scales. 8. Notate, hear, and identify all perfect, majo ...
... 5. Name and recognize scale degree terms, e.g., tonic, supertonic, etc. 6. Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only). 7. Notate, hear, and identify whole tone and pentatonic scales. 8. Notate, hear, and identify all perfect, majo ...
Triads
... You should notice that the tonic is always minor, the supertonic and leading tone triads are diminished, and the dominant triad is major. The dominant must be major in order to function as a true dominant sound. This is primarily because it contains a half-step leading tone, B natural, which will st ...
... You should notice that the tonic is always minor, the supertonic and leading tone triads are diminished, and the dominant triad is major. The dominant must be major in order to function as a true dominant sound. This is primarily because it contains a half-step leading tone, B natural, which will st ...
Tone and Voice: A Derivation of the Rules of Voice
... [D19.] Avoid Disjunct Approach to Fused Intervals Rule. If it is not possible to approach unisons, octaves and fifths by retaining the same pitch (oblique motion), step motion should be used. [D20.] Avoid Semblant Approach between Fused Intervals Rule. Avoid similar pitch motion in which the voices ...
... [D19.] Avoid Disjunct Approach to Fused Intervals Rule. If it is not possible to approach unisons, octaves and fifths by retaining the same pitch (oblique motion), step motion should be used. [D20.] Avoid Semblant Approach between Fused Intervals Rule. Avoid similar pitch motion in which the voices ...
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... smoother melodic lines in minor keys. The second half of the ascending Melodic minor sounds like a Major scale. The descending Melodic minor scale sounds like a Natural minor scale. The following is an A Melodic minor scale. ...
... smoother melodic lines in minor keys. The second half of the ascending Melodic minor sounds like a Major scale. The descending Melodic minor scale sounds like a Natural minor scale. The following is an A Melodic minor scale. ...
Lesson_SSS_-_Diatoni..
... pattern in context. Generally, we first hear the repetition in the contour of the leading melodic voice. But these repeated lines or motives are always linked to strong harmonic progressions, which in turn derive from basic interval progressions. Sequences are based on the same harmonic progressions ...
... pattern in context. Generally, we first hear the repetition in the contour of the leading melodic voice. But these repeated lines or motives are always linked to strong harmonic progressions, which in turn derive from basic interval progressions. Sequences are based on the same harmonic progressions ...
Lec2
... • Half step (semitone) – The smallest interval in most Western music – The interval between any two consecutive notes of the chromatic scale – On a keyboard, the distance between any note and the note nearest to it, black or white ...
... • Half step (semitone) – The smallest interval in most Western music – The interval between any two consecutive notes of the chromatic scale – On a keyboard, the distance between any note and the note nearest to it, black or white ...
Quick Guide To Chord Charts The term harmonic rhythm refers to
... for songs, called a lead sheet, the melody is given in staff notation. The harmonic rhythm is usually indicated by the placement of chord symbols, above the notation for the melody, at the points in time at which changes of chord must be made. Lead sheet notation would seem to suggest that harmonic ...
... for songs, called a lead sheet, the melody is given in staff notation. The harmonic rhythm is usually indicated by the placement of chord symbols, above the notation for the melody, at the points in time at which changes of chord must be made. Lead sheet notation would seem to suggest that harmonic ...
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).