PowerPoint Presentation - The Effects of the Una Corda Pedal on
... behaviors, however the overall effect is the same—differences between the harmonic structures of notes with and without the pedal become magnified as time passes, although in different ways. This effect is consistent throughout the data, however no two notes behave in exactly the same manner. ...
... behaviors, however the overall effect is the same—differences between the harmonic structures of notes with and without the pedal become magnified as time passes, although in different ways. This effect is consistent throughout the data, however no two notes behave in exactly the same manner. ...
AP Music Theory - Somerset Academy
... minor scales – like a major scale with a lowered, 3rd, 6th, and 7th degree Harmonic Minor scale – thought of as a major scale with a lowered 3rd and 6th degree Melodic minor scale – ascending form is like a major scale with a lowered 3rd degree, the descending form is the same as the natural min ...
... minor scales – like a major scale with a lowered, 3rd, 6th, and 7th degree Harmonic Minor scale – thought of as a major scale with a lowered 3rd and 6th degree Melodic minor scale – ascending form is like a major scale with a lowered 3rd degree, the descending form is the same as the natural min ...
Level C Practice Music Theory Test 2016
... EAR TRAINING Listen to each example twice. Upon completion, you may ask to hear any example a third time. Questions 41. – 50. Circle the correct answer. 41. Is this music in a major or minor key? ...
... EAR TRAINING Listen to each example twice. Upon completion, you may ask to hear any example a third time. Questions 41. – 50. Circle the correct answer. 41. Is this music in a major or minor key? ...
Investigate the mathematics behind the tuning systems of Wendy
... Introduction - The twelve-tone equal temperament has been the dominant tuning system used in Western music for centuries. However, this has not always been the case. There exists a large variety of different tunings, more or less used depending on time and place, from the Pythagorean scale to meanto ...
... Introduction - The twelve-tone equal temperament has been the dominant tuning system used in Western music for centuries. However, this has not always been the case. There exists a large variety of different tunings, more or less used depending on time and place, from the Pythagorean scale to meanto ...
MTO 18.2: Sly, Review of Damschroder
... circumscribed. For Beach 1993, the central issue is how this harmony relates to the dominant harmonies that precede and follow it. Damschroder’s painstaking attention to harmonic process leads him to view this arrival as a consequence of the layered tonal trajectories that shape the development, and ...
... circumscribed. For Beach 1993, the central issue is how this harmony relates to the dominant harmonies that precede and follow it. Damschroder’s painstaking attention to harmonic process leads him to view this arrival as a consequence of the layered tonal trajectories that shape the development, and ...
How to Construct Modes
... Modes can be derived from a major scale. The true application of a mode is one in which the notes and harmony are derived primarily from a mode. Modal scales are used, however, over the chord of the moment in a non-modal tune, although it would not be a modal melody in the strictest definition. Ther ...
... Modes can be derived from a major scale. The true application of a mode is one in which the notes and harmony are derived primarily from a mode. Modal scales are used, however, over the chord of the moment in a non-modal tune, although it would not be a modal melody in the strictest definition. Ther ...
Generating Guitar Scores from a MIDI Source
... Figure 3: Snapshot of the user interface l If the raised note is over the twelfth cell on the highest string, lower the note to its original position. 4.4. User intervention: A reasonably good guitar score can be generated automatically using the above process. However, some user intervention may f ...
... Figure 3: Snapshot of the user interface l If the raised note is over the twelfth cell on the highest string, lower the note to its original position. 4.4. User intervention: A reasonably good guitar score can be generated automatically using the above process. However, some user intervention may f ...
The Geometry of Melodic, Harmonic, and Metrical
... conflict between meter and tonal structure (Komar 1971; Lerdahl and Jackendoff 1983; Rahn 1979; Schachter 1976, 1980, 1987; Yeston 1976) present models in which time and pitch are treated in fundamentally different ways. Construing tonal hierarchy in terms of intervals rather than notes corrects th ...
... conflict between meter and tonal structure (Komar 1971; Lerdahl and Jackendoff 1983; Rahn 1979; Schachter 1976, 1980, 1987; Yeston 1976) present models in which time and pitch are treated in fundamentally different ways. Construing tonal hierarchy in terms of intervals rather than notes corrects th ...
Tones and Semitones
... In the "C major" scale, both the first and the last notes are Cs- but how do we know what the inbetween notes are? On the piano, a C major scale uses all the white notes (so it doesn't have any sharps or flats), but on other instruments, we don't have white notes, so how do we know which notes to us ...
... In the "C major" scale, both the first and the last notes are Cs- but how do we know what the inbetween notes are? On the piano, a C major scale uses all the white notes (so it doesn't have any sharps or flats), but on other instruments, we don't have white notes, so how do we know which notes to us ...
C - WordPress.com
... Notice the half steps between the 3rd & 4th and 7th & 8th degrees of the scale. This is the Ionian mode or major scale. Its quality is “tonic”, that is, resolved. Music needs a feeling of movement or anticipation which this scale doesn’t provide when played as seen above. The sound of tension or an ...
... Notice the half steps between the 3rd & 4th and 7th & 8th degrees of the scale. This is the Ionian mode or major scale. Its quality is “tonic”, that is, resolved. Music needs a feeling of movement or anticipation which this scale doesn’t provide when played as seen above. The sound of tension or an ...
Appendix 1 Musical Terms
... Roman numerals Roman numerals are drawn below the staff to represent the number note in the scale (scale degree) on which a chord is based. For example, the roman numeral IV or iv represents the subdominant triad in a major and minor key, respectively. Root The note on which a chord is built; the ro ...
... Roman numerals Roman numerals are drawn below the staff to represent the number note in the scale (scale degree) on which a chord is based. For example, the roman numeral IV or iv represents the subdominant triad in a major and minor key, respectively. Root The note on which a chord is built; the ro ...
Year-9-Music
... Minimalism is a style of music using short musical ideas known as motifs or cells. These musical ideas are repeated many times creating ostinatos (repeating patterns). These patterns can be layered, to create contrapuntal (layered) textures. In minimalist pieces, complex, syncopated rhythms are comm ...
... Minimalism is a style of music using short musical ideas known as motifs or cells. These musical ideas are repeated many times creating ostinatos (repeating patterns). These patterns can be layered, to create contrapuntal (layered) textures. In minimalist pieces, complex, syncopated rhythms are comm ...
Appendix 1
... Cut time (Alla breve) The time signature C or 2/2 time; simple duple meter with the half note as the pulse note. D.C. al Fine It. “Da Capo” (“to the head”) directs the musician to return to the beginning and repeat, ending at the word Fine (the end). D.S. al Fine It. “Dal Segno” (“to the sign”) dire ...
... Cut time (Alla breve) The time signature C or 2/2 time; simple duple meter with the half note as the pulse note. D.C. al Fine It. “Da Capo” (“to the head”) directs the musician to return to the beginning and repeat, ending at the word Fine (the end). D.S. al Fine It. “Dal Segno” (“to the sign”) dire ...
paper - Personal Web Pages
... Figure 7. G#-14 indicating sets with common tones. Note the presence of D# -12 and G# -14 from the G# set (Figure 7) in the E diatonic set (Figure 4), and A# -10 from the G# set (Figure 7) in the F# set (Figure 5). Most of the tones in each of the eight diatonic sets are common to at least one other ...
... Figure 7. G#-14 indicating sets with common tones. Note the presence of D# -12 and G# -14 from the G# set (Figure 7) in the E diatonic set (Figure 4), and A# -10 from the G# set (Figure 7) in the F# set (Figure 5). Most of the tones in each of the eight diatonic sets are common to at least one other ...
NCAS/NAfME MUSIC GLOSSARY - National Core Arts Standards
... qualities or traits for assessing achievement level that have been through a process of collective decision-making Complex formal structure musical form in which rhythmic, melodic, harmonic, and/or other musical materials undergo significant expansion and development, and may be more distantly relat ...
... qualities or traits for assessing achievement level that have been through a process of collective decision-making Complex formal structure musical form in which rhythmic, melodic, harmonic, and/or other musical materials undergo significant expansion and development, and may be more distantly relat ...
On Tonal Dynamics and Musical Meaning - Signata
... A basic and probably universal property of tones is that they are identiied by octaves, that is, tone intervals corresponding to multiples of an F0. Octave hearing, the perception of octave equivalency, is built into the human brain, apparently by a neural mapping in the auditory thalamus; monkeys a ...
... A basic and probably universal property of tones is that they are identiied by octaves, that is, tone intervals corresponding to multiples of an F0. Octave hearing, the perception of octave equivalency, is built into the human brain, apparently by a neural mapping in the auditory thalamus; monkeys a ...
Music and Dance of North India
... is the material from which a melody comes. It is not simply a scale; it has a specified order of pitches with an ascending pattern (aroha) and a descending pattern (avaroha). It also has two particular scale degrees which are emphasized, known as vadi and samvadi. There is no fail-safe rule by which ...
... is the material from which a melody comes. It is not simply a scale; it has a specified order of pitches with an ascending pattern (aroha) and a descending pattern (avaroha). It also has two particular scale degrees which are emphasized, known as vadi and samvadi. There is no fail-safe rule by which ...
Set Theory - ClarkRoss.ca
... Atonal music is often organized in pitch groups that form cells (both horizontal and vertical), many of which relate to one another. Set Theory provides a shorthand method to label these cells, just like Roman numerals and inversion figures do (i.e., ii 64 ) in tonal music. We use numbers in musical ...
... Atonal music is often organized in pitch groups that form cells (both horizontal and vertical), many of which relate to one another. Set Theory provides a shorthand method to label these cells, just like Roman numerals and inversion figures do (i.e., ii 64 ) in tonal music. We use numbers in musical ...
Sample Responses Q6 - AP Central
... 5. A chordal seventh approached by a descending leap. C. Award no points (0 points) for voice leading between two correctly realized chords (as defined in I.A.) if any of the following statements is true: 1. Parallel octaves, fifths or unisons occur (immediately successive or on successive beats), i ...
... 5. A chordal seventh approached by a descending leap. C. Award no points (0 points) for voice leading between two correctly realized chords (as defined in I.A.) if any of the following statements is true: 1. Parallel octaves, fifths or unisons occur (immediately successive or on successive beats), i ...
Compositional process of defragmentation
... interaction with elements of a local culture, but unfolds according to the two following views. The first is the intention to implement a geographic contextualization, a regional reference that favors a culturally diverse and multiple rather than a flattened out and globalized vision of the world. T ...
... interaction with elements of a local culture, but unfolds according to the two following views. The first is the intention to implement a geographic contextualization, a regional reference that favors a culturally diverse and multiple rather than a flattened out and globalized vision of the world. T ...
Chords Triads
... Chords (Triads) A chord is a collection of two or more notes that are sounded/ played together. Chords can be used to accompany melodies, or as backings for improvisation. The most common type of chord is the triad – three note chords. Each triad is made up of a root (the first note), a third and a ...
... Chords (Triads) A chord is a collection of two or more notes that are sounded/ played together. Chords can be used to accompany melodies, or as backings for improvisation. The most common type of chord is the triad – three note chords. Each triad is made up of a root (the first note), a third and a ...
Tuning and Temperament
... Tuning is the process of setting the adjustable parts of a musical instrument so that when the instrument is played, it produces a pleasing sound, both on its own and with other musical instruments being played at the same time. There are two very distinct aspects of the tuning process. ...
... Tuning is the process of setting the adjustable parts of a musical instrument so that when the instrument is played, it produces a pleasing sound, both on its own and with other musical instruments being played at the same time. There are two very distinct aspects of the tuning process. ...
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).