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... to Improvise," published in 1991 by Advance Music. It is an excellent resource laying out the traditional rules of jazz harmony and other concepts. I highly recommend it. From what I learned from Mr. Crook and others, I later derived my own system to solve certain issues that kept coming up in my im ...
... to Improvise," published in 1991 by Advance Music. It is an excellent resource laying out the traditional rules of jazz harmony and other concepts. I highly recommend it. From what I learned from Mr. Crook and others, I later derived my own system to solve certain issues that kept coming up in my im ...
Elementary Curriculum Map
... MU.4.O.3.2: Apply expressive elements to a vocal or instrumental piece and, using correct music vocabulary, explain one’s choices. MU.4.O.3.1: Identify how expressive elements and lyrics affect the mood or emotion of a song. MU.4.C.2.1: Identify and describe basic music performance techniques to per ...
... MU.4.O.3.2: Apply expressive elements to a vocal or instrumental piece and, using correct music vocabulary, explain one’s choices. MU.4.O.3.1: Identify how expressive elements and lyrics affect the mood or emotion of a song. MU.4.C.2.1: Identify and describe basic music performance techniques to per ...
Concerto for Double String Orchestra, Movement I
... the number of ‘real’ parts is always fewer, because of doubling (i.e. where two sets of players have the same melodic line). So, in the final tutti (from bar 220), the number of real parts varies from just three to six. Doubling in this movement is usually in octaves rather than at the unison; but t ...
... the number of ‘real’ parts is always fewer, because of doubling (i.e. where two sets of players have the same melodic line). So, in the final tutti (from bar 220), the number of real parts varies from just three to six. Doubling in this movement is usually in octaves rather than at the unison; but t ...
hw3
... 2. Intervals in just tuning. a. Label the lines on the scale generation template attached with fractions representing the frequency ratios in just tuning. b. Which interval is worst approximated (in cents) by an equally tempered interval? Other than the octave, which is best approximated? c. How man ...
... 2. Intervals in just tuning. a. Label the lines on the scale generation template attached with fractions representing the frequency ratios in just tuning. b. Which interval is worst approximated (in cents) by an equally tempered interval? Other than the octave, which is best approximated? c. How man ...
8th Grade Planned Course Guide - Penn
... 9. Perform small ensemble music with fewer people on each voice part. 10. Perform music while standing “mixed.” 11. Perform music with accompaniment and without accompaniment (a cappella). 12. Perform with other singers to achieve a blended ensemble sound characteristic of the music being performed ...
... 9. Perform small ensemble music with fewer people on each voice part. 10. Perform music while standing “mixed.” 11. Perform music with accompaniment and without accompaniment (a cappella). 12. Perform with other singers to achieve a blended ensemble sound characteristic of the music being performed ...
Physics of Music
... and its total length was always a nice and easy fraction such as a half, two-thirds, three-quarters and so on. Since medieval times, the notes formed by these ratios have been called respectively the octave, fifth and forth. They are collectively known as the perfect consonances. More on these in a ...
... and its total length was always a nice and easy fraction such as a half, two-thirds, three-quarters and so on. Since medieval times, the notes formed by these ratios have been called respectively the octave, fifth and forth. They are collectively known as the perfect consonances. More on these in a ...
Full Text - Discovery Publication
... (MV1) is seen by the repetition of ‘A’ phrase in “Azizah”. The ‘A’ phrase repeated and simultaneously repeated the lyrics with different stanza lines, that of "Rupa kamu yang cantik" to "Mata kamu yang bulat". Variation technique is changing in the melodic phrase while the basic features of the prev ...
... (MV1) is seen by the repetition of ‘A’ phrase in “Azizah”. The ‘A’ phrase repeated and simultaneously repeated the lyrics with different stanza lines, that of "Rupa kamu yang cantik" to "Mata kamu yang bulat". Variation technique is changing in the melodic phrase while the basic features of the prev ...
circular pitch space based chord analysis - Music
... Harte, Sandler and Gasser [2] introduced in 2006 a 6-D tonal space (CPS_HSG) made of three centroid vectors that are developed from the so called Tonnetz or also Harmonic Network. They used this tonal space for harmonic change detection. In [3], [4] Lee and Slaney used the CPS_HSG for chord transcri ...
... Harte, Sandler and Gasser [2] introduced in 2006 a 6-D tonal space (CPS_HSG) made of three centroid vectors that are developed from the so called Tonnetz or also Harmonic Network. They used this tonal space for harmonic change detection. In [3], [4] Lee and Slaney used the CPS_HSG for chord transcri ...
ZCHS Performing Arts Department 2015-2016
... Staccato: play the note short and detached Tempo: "rate of speed" or how fast or slow to play the music Tie: two notes of the same pitch joined by a curved line over or under the note. Each note joined by a tie is held for it's full value but only the first note is played or sing Time signature appe ...
... Staccato: play the note short and detached Tempo: "rate of speed" or how fast or slow to play the music Tie: two notes of the same pitch joined by a curved line over or under the note. Each note joined by a tie is held for it's full value but only the first note is played or sing Time signature appe ...
Lecture 4
... Q. What musical descriptions use colour (or visual) terminology? Q. Is there a relationship between colour and sound? Q. If music might be regarded as organised sound, what is the colour equivalent, and what is its relationship to music? ...
... Q. What musical descriptions use colour (or visual) terminology? Q. Is there a relationship between colour and sound? Q. If music might be regarded as organised sound, what is the colour equivalent, and what is its relationship to music? ...
Advanced Ensemble Exams – Semester II (50 questions)
... Staccato: play the note short and detached Tempo: "rate of speed" or how fast or slow to play the music Tie: two notes of the same pitch joined by a curved line over or under the note. Each note joined by a tie is held for it's full value but only the first note is played or sing Time signature appe ...
... Staccato: play the note short and detached Tempo: "rate of speed" or how fast or slow to play the music Tie: two notes of the same pitch joined by a curved line over or under the note. Each note joined by a tie is held for it's full value but only the first note is played or sing Time signature appe ...
Why are pianos out of tune?
... These numbers are larger than the 1s, 2s, 3s and 4s we had earlier, and give us what we call just intonation. The great advantage is that we now have the nice interval of 5/4 for a major third, rather than the unpleasant Pythagorean one of 81/64. Note that 5/4 is the same as 80/64, so it's flatter t ...
... These numbers are larger than the 1s, 2s, 3s and 4s we had earlier, and give us what we call just intonation. The great advantage is that we now have the nice interval of 5/4 for a major third, rather than the unpleasant Pythagorean one of 81/64. Note that 5/4 is the same as 80/64, so it's flatter t ...
A Psychophysical Explanation for Why Major Chords are “Bright
... All of our experiments have been run with musicallyuntrained, Japanese college students. The musical sounds have been 2-tone intervals, 3-tone chords, 3-tone chord pairs or short melodies presented over headphones as sine waves (with or without upper partials) or grand piano MIDI sounds. Methodologi ...
... All of our experiments have been run with musicallyuntrained, Japanese college students. The musical sounds have been 2-tone intervals, 3-tone chords, 3-tone chord pairs or short melodies presented over headphones as sine waves (with or without upper partials) or grand piano MIDI sounds. Methodologi ...
Tonal Harmony Chapter 10 Cadences Phrases Periods and
... The last note of one phrase sometimes serves as the first note of the next one, a process referred to a elision Discuss example 10-11 (Mozart: An die Freude) composed by Mozart when he was eleven years old Cadences occur regularly every four measures in this song, each cadence marking the en ...
... The last note of one phrase sometimes serves as the first note of the next one, a process referred to a elision Discuss example 10-11 (Mozart: An die Freude) composed by Mozart when he was eleven years old Cadences occur regularly every four measures in this song, each cadence marking the en ...
Advanced_HS_Band_Benchmarks
... Execute refined tone on their primary instrument (A.ML.1.1) Execute consistent pitch individually and within ensembles of various sizes and instrumentations (A.ML.1.1) Illustrate appropriate posture, breath support, hand position, and fingerings or stick control while performing an 8 measure musical ...
... Execute refined tone on their primary instrument (A.ML.1.1) Execute consistent pitch individually and within ensembles of various sizes and instrumentations (A.ML.1.1) Illustrate appropriate posture, breath support, hand position, and fingerings or stick control while performing an 8 measure musical ...
Intonation in Maqam - Sami Abu Shumays samiabushumays.com
... How can we suitably define these intervals? Certainly we can measure the practice of musicians and give a cent value to the intervals they use. But would those cent values be an explanation for why those intervals are the way they are? The problem is the same as in the case of frequency ratios such ...
... How can we suitably define these intervals? Certainly we can measure the practice of musicians and give a cent value to the intervals they use. But would those cent values be an explanation for why those intervals are the way they are? The problem is the same as in the case of frequency ratios such ...
1 VIRGIN MUSIC (By Peter L.P. Simpson) Post Modernism Among
... intervals (such as in non-Western and non-Modern musics, at least as regards notes played between the pure and fixed intervals of fourth and fifth) do and must look very different. Indeed the one notation will hardly be intelligible in terms of the other. Now these features of modern Western music, ...
... intervals (such as in non-Western and non-Modern musics, at least as regards notes played between the pure and fixed intervals of fourth and fifth) do and must look very different. Indeed the one notation will hardly be intelligible in terms of the other. Now these features of modern Western music, ...
lesson 1 - john p birchall
... The major scale should be learnt in several ways; you should - be able to play it on your instrument and TRANSPOSE it to any starting note as in Ex.3. become familiar with the SOUND of the scale understand the scale from an intellectual point of view, which means that you should KNOW the actual ...
... The major scale should be learnt in several ways; you should - be able to play it on your instrument and TRANSPOSE it to any starting note as in Ex.3. become familiar with the SOUND of the scale understand the scale from an intellectual point of view, which means that you should KNOW the actual ...
Music Vocabulary Accelerando – gradually increase the tempo
... Tempo – Speed of Music Tenuto – a line placed above or below note meaning to sustain for full value Texture – the character of a composition as determined by the relationship of its melodies, countermelodies, and/or chords Tie – Curved Line that connects two notes of the same pitch; tied notes a ...
... Tempo – Speed of Music Tenuto – a line placed above or below note meaning to sustain for full value Texture – the character of a composition as determined by the relationship of its melodies, countermelodies, and/or chords Tie – Curved Line that connects two notes of the same pitch; tied notes a ...
A Farewell to the Avant-garde— Krzesany by Wojciech Kilar
... time, however, performed by the strings alternating with powerful chords in the trumpets and trombones. Also undergoing change is the sonority structure—the composer utilizes pure D major and C major chords, coloring the latter chord in the brass with the ‘Lydian fourth’ f r (a raised fourth and lo ...
... time, however, performed by the strings alternating with powerful chords in the trumpets and trombones. Also undergoing change is the sonority structure—the composer utilizes pure D major and C major chords, coloring the latter chord in the brass with the ‘Lydian fourth’ f r (a raised fourth and lo ...
Lec6.0 - U of L Class Index
... Palestrina more homophonic Palestrina used a bigger choir Palestrina clearer declamation The Palestrina shows the change from the rather stern liturgical polyphony of Josquin to the rich, sonorous, more sensuous sounding music of the late 16th century. ...
... Palestrina more homophonic Palestrina used a bigger choir Palestrina clearer declamation The Palestrina shows the change from the rather stern liturgical polyphony of Josquin to the rich, sonorous, more sensuous sounding music of the late 16th century. ...
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).