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Instrumental Music Adv 4th 9 weeks
... 8.WCE.IM.12 Demonstrate the ability to adjust pitch while playing by listening to other members of the ensemble, regardless of range, dynamics, or orchestration. Pitch and Rhythms 8.IM.2.4.3 I can identify, notate and perform selected Grade 3 rhythms and pitches. ...
... 8.WCE.IM.12 Demonstrate the ability to adjust pitch while playing by listening to other members of the ensemble, regardless of range, dynamics, or orchestration. Pitch and Rhythms 8.IM.2.4.3 I can identify, notate and perform selected Grade 3 rhythms and pitches. ...
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... this notation numerous times. The Nashville Number System is a musical shorthand that was developed in the studios in Nashville Tennessee in the 50s and 60s made famous by legendary studio musicians like Harold Bradley and Chet Atkins. It’s a way of notating music using numbers associated with the f ...
... this notation numerous times. The Nashville Number System is a musical shorthand that was developed in the studios in Nashville Tennessee in the 50s and 60s made famous by legendary studio musicians like Harold Bradley and Chet Atkins. It’s a way of notating music using numbers associated with the f ...
How to Dissect Modes to Create New Melodic Material
... – G. However, we do not have to play them simultaneously as a chord. If we play the notes one after another we generate many melodic possibilities by leaving out most of the scale tones. A triad, as you know, can be formed on every note of a scale, e.g. C-E-G, D-F-A, E-G-B etc. When we pick out spec ...
... – G. However, we do not have to play them simultaneously as a chord. If we play the notes one after another we generate many melodic possibilities by leaving out most of the scale tones. A triad, as you know, can be formed on every note of a scale, e.g. C-E-G, D-F-A, E-G-B etc. When we pick out spec ...
File - Melissa Hayes
... (about 1600) until the breakdown of tonal harmony at the end of the Romantic period (1900). It continued to be used by some composers after this period. The major scale is made up of eight notes. These are each given a scale degree number. Below is an example of a C major scale. Below each note is i ...
... (about 1600) until the breakdown of tonal harmony at the end of the Romantic period (1900). It continued to be used by some composers after this period. The major scale is made up of eight notes. These are each given a scale degree number. Below is an example of a C major scale. Below each note is i ...
music terminology
... Sans: Without SATB: In music, SATB is an initialism for soprano, alto, tenor, bass, defining the voices required by a chorus or choir to perform a particular musical work. Pieces written for SATB, the commonest combination and that used by most Hymn tunes, can be sung by choruses of mixed genders, b ...
... Sans: Without SATB: In music, SATB is an initialism for soprano, alto, tenor, bass, defining the voices required by a chorus or choir to perform a particular musical work. Pieces written for SATB, the commonest combination and that used by most Hymn tunes, can be sung by choruses of mixed genders, b ...
Melody and Musical Texture What This Book Is About
... parts are accompaniment; they are also melodic (try singing them!), but their melodies are subsidiary to the principal melody in the first violin, and the bass is perhaps the least melodic part here. All together, these components form a texture, a polyphonic texture of several different parts (ofte ...
... parts are accompaniment; they are also melodic (try singing them!), but their melodies are subsidiary to the principal melody in the first violin, and the bass is perhaps the least melodic part here. All together, these components form a texture, a polyphonic texture of several different parts (ofte ...
ENFIELD GRAMMAR SCHOOL - MMA Music Teaching Professionals
... Handel creates contrast within this piece by contrasting both homophonic and contrapuntal/polyphonic textures. Describe what is meant by homophonic and give an example where this texture can be heard. __________________________________________________________________________ ________________________ ...
... Handel creates contrast within this piece by contrasting both homophonic and contrapuntal/polyphonic textures. Describe what is meant by homophonic and give an example where this texture can be heard. __________________________________________________________________________ ________________________ ...
Behind The Guitar Chords 1. Tempered Notes Plucking a string will
... The basic three chords in any key, are the major, minor and suspended. These have three notes. Capital key letters denote major, lower case ones denote minor and sus denotes suspended. Only the four important added notes will be used : 7# , 7 , 6 , 9. The 4 and 9b are not. Empty circles mean notes t ...
... The basic three chords in any key, are the major, minor and suspended. These have three notes. Capital key letters denote major, lower case ones denote minor and sus denotes suspended. Only the four important added notes will be used : 7# , 7 , 6 , 9. The 4 and 9b are not. Empty circles mean notes t ...
Scales - University of Rochester
... piano, guitar, and percussion. It's based on the 10:11:12:13:14:16:18:20 septany. • By Prent Rodgers -for the downridders ...
... piano, guitar, and percussion. It's based on the 10:11:12:13:14:16:18:20 septany. • By Prent Rodgers -for the downridders ...
LISTENING GUIDE
... In terms of form, the piece is quite simple. The form is provided by the simple device of the “echo.” Every phrase of the melody is played twice, usually first by the trumpets and then by the horns. This tight organization provides so much structure for the short piece that Handel did not seem to fe ...
... In terms of form, the piece is quite simple. The form is provided by the simple device of the “echo.” Every phrase of the melody is played twice, usually first by the trumpets and then by the horns. This tight organization provides so much structure for the short piece that Handel did not seem to fe ...
11ths and 13ths - Scored Changes
... The dominant seventh with the raised fifth is sometimes called the augmented seventh, just as the major triad with a raised fifth is sometimes called an augmented chord in classical music. Sometimes, in both types of chord shown above, the lowered and raised fifth can both occur, but a chord with a ...
... The dominant seventh with the raised fifth is sometimes called the augmented seventh, just as the major triad with a raised fifth is sometimes called an augmented chord in classical music. Sometimes, in both types of chord shown above, the lowered and raised fifth can both occur, but a chord with a ...
Popular Music Theory - The Academy Of Popular Music
... You can beam together any combination of quavers and semiquavers provided they belong to the same beat. You can also beam 4 semiquavers together that start on a beat but you should not beam together semiquavers that belong to 2 different beats. ...
... You can beam together any combination of quavers and semiquavers provided they belong to the same beat. You can also beam 4 semiquavers together that start on a beat but you should not beam together semiquavers that belong to 2 different beats. ...
D:\EIGENE~1\CHOROI~1\PROSPE~1\BORDUN~1\Bordunleier GB
... which even in their simplest form work with full effect. The same applies to the movements of voices or parts: the high and the low, the stationary and the mobile, the parallel and the crossing - all of these form that which we call the harmonic element. The strength of the motives and the thematic ...
... which even in their simplest form work with full effect. The same applies to the movements of voices or parts: the high and the low, the stationary and the mobile, the parallel and the crossing - all of these form that which we call the harmonic element. The strength of the motives and the thematic ...
5A_SymbolicNotationCodes
... All musical notation is symbolic, but many sets of symbols have been developed to represent sound. They do not all represent the same features of sound. It seems unlikely that any of them represents all features of sound, because sound has an undetermined number of parameters. These are further elab ...
... All musical notation is symbolic, but many sets of symbols have been developed to represent sound. They do not all represent the same features of sound. It seems unlikely that any of them represents all features of sound, because sound has an undetermined number of parameters. These are further elab ...
Music Theory Part 2 - The Interval
... Music and therefore songs are composed of notes and rhythms played in ways the composer imagines will sound good. The musical alphabet repeats itself, for example from low A to high A. The notes in between are arranged by intervals. Each interval in Western music is the same and divides the space in ...
... Music and therefore songs are composed of notes and rhythms played in ways the composer imagines will sound good. The musical alphabet repeats itself, for example from low A to high A. The notes in between are arranged by intervals. Each interval in Western music is the same and divides the space in ...
The Music-Culture as a World of Music
... • Occurs in this example between beats 2 and 3 • (Hint: listen for the return of the first word “Banturiti,” in the pallavi and every 5 seconds ...
... • Occurs in this example between beats 2 and 3 • (Hint: listen for the return of the first word “Banturiti,” in the pallavi and every 5 seconds ...
Johann Sebastian Bach “A Musical Offering”
... Round: If time (t) is expressed in measures, a delay of one measure shifts a graph of the melody to the right one unit, changing the original function from f(t) to f(t-1). Difference in starting keys or pitches: A difference in the place where a melody is begun shifts the graph of the melody up or d ...
... Round: If time (t) is expressed in measures, a delay of one measure shifts a graph of the melody to the right one unit, changing the original function from f(t) to f(t-1). Difference in starting keys or pitches: A difference in the place where a melody is begun shifts the graph of the melody up or d ...
Twelve Tone Serialism - Mathematics and Computer Science
... referring to a portion of the Latin mass, and harmonies were not involved (Forney, 7273). As the years progressed, people began experimenting with the musical form. A second voice was added to the Gregorian chant, sometimes singing the same words, and sometimes singing something completely differen ...
... referring to a portion of the Latin mass, and harmonies were not involved (Forney, 7273). As the years progressed, people began experimenting with the musical form. A second voice was added to the Gregorian chant, sometimes singing the same words, and sometimes singing something completely differen ...
Paige Studlack Malone Middle School Ms
... below. Middle C has about 262 cycles per second and G's frequency is 392 Hz so the notes have a ratio of approximately 3/2. A note combination that makes even someone nearly tone-deaf cringe is the same Middle C and the F# of that same octave. The sound waves seem to never coincide, although they pr ...
... below. Middle C has about 262 cycles per second and G's frequency is 392 Hz so the notes have a ratio of approximately 3/2. A note combination that makes even someone nearly tone-deaf cringe is the same Middle C and the F# of that same octave. The sound waves seem to never coincide, although they pr ...
Word Format - Years 11 and 12 - School Curriculum and Standards
... minor scales in treble and bass clef recognition and writing of minor primary triads i, iv and V in A, D and E minor identify modulations to the relative major and/or minor in given excerpts Composition harmonise given minor melodies using minor primary triads in A, D and E minor write minor ...
... minor scales in treble and bass clef recognition and writing of minor primary triads i, iv and V in A, D and E minor identify modulations to the relative major and/or minor in given excerpts Composition harmonise given minor melodies using minor primary triads in A, D and E minor write minor ...
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).