Slide 1
... and learn by ear much faster. It will help you make sense out of chord progressions by making better guesses as to what the “off chord” is. If you keep at it, you will start to say things like “Oh, this part of the tune is just like the progression in that other tune……” You’ll also be able to read c ...
... and learn by ear much faster. It will help you make sense out of chord progressions by making better guesses as to what the “off chord” is. If you keep at it, you will start to say things like “Oh, this part of the tune is just like the progression in that other tune……” You’ll also be able to read c ...
Lecture 14a: Additional Remarks on Tuning Systems In previous
... taking the 7th harmonic transposed down two octaves. The “major 7th chord”, which uses the root, plus a major third, fifth, and minor 7th above the root, is extremely common in classical harmony. In section 6.1 several examples of 7-limit system are given, together with an 11-limit system (dividing ...
... taking the 7th harmonic transposed down two octaves. The “major 7th chord”, which uses the root, plus a major third, fifth, and minor 7th above the root, is extremely common in classical harmony. In section 6.1 several examples of 7-limit system are given, together with an 11-limit system (dividing ...
history of barbershop
... The dominant seventh chord and its implied progression. The chord that is sometimes called the "barbershop seventh" actually is what most musicians refer to as the dominant seventh chord. Somewhere in the late sixteenth or early seventeenth century, European composers began to complement the major t ...
... The dominant seventh chord and its implied progression. The chord that is sometimes called the "barbershop seventh" actually is what most musicians refer to as the dominant seventh chord. Somewhere in the late sixteenth or early seventeenth century, European composers began to complement the major t ...
Indian Music - Ms Jones` GCSE Class
... • North Indian classical music is built on melodies that are varied and decorated using improvisation. • Improvisation takes place according to strict rules of each particular Rag being performed. • Musicians learn Paltas (scalic melodic patterns) to help improve a players technique, these are used ...
... • North Indian classical music is built on melodies that are varied and decorated using improvisation. • Improvisation takes place according to strict rules of each particular Rag being performed. • Musicians learn Paltas (scalic melodic patterns) to help improve a players technique, these are used ...
Benward Chapter 2
... The distance between any two musical tones Harmonic Interval: The two notes of the interval sound together. Melodic Interval: The two notes of the interval are sounded successively. ...
... The distance between any two musical tones Harmonic Interval: The two notes of the interval sound together. Melodic Interval: The two notes of the interval are sounded successively. ...
Minor Scales
... Five qualifying terms for intervals, and their abbreviations: Major (M) – whole steps between notes. Minor (m) – half steps between notes. Both of these are applied to the following scale degrees: 2nds, 3rds, 6ths and 7ths. ...
... Five qualifying terms for intervals, and their abbreviations: Major (M) – whole steps between notes. Minor (m) – half steps between notes. Both of these are applied to the following scale degrees: 2nds, 3rds, 6ths and 7ths. ...
Chapter 9 - eacfaculty.org
... 10. Melodic augmented seconds and fourths are never found in 18th century chorales. a) The melodic descending d5 appears sometimes in bass voices, but never in the soprano. b) The d4 is a diatonic interval in the harmonic minor scale (the third down to the seventh scale degree) and may be written in ...
... 10. Melodic augmented seconds and fourths are never found in 18th century chorales. a) The melodic descending d5 appears sometimes in bass voices, but never in the soprano. b) The d4 is a diatonic interval in the harmonic minor scale (the third down to the seventh scale degree) and may be written in ...
ATTAINMENT TARGET
... a) understand bars & bar lines in 4/4 time b) understand whole notes (semibreve), half notes (minim), quarter notes (crotchet) & their equivalent rests in 4/4 time c) read notes G, A, B, C & middle D ...
... a) understand bars & bar lines in 4/4 time b) understand whole notes (semibreve), half notes (minim), quarter notes (crotchet) & their equivalent rests in 4/4 time c) read notes G, A, B, C & middle D ...
Harvard
... intervals and chords, however, is unmistakable. The simple-ratio intervals upon which Just Intonation is based are the fundamental constituents of melody and harmony. They are what the human auditory system recognizes as consonance, if it ever has the opportunity to hear them in a musical context. T ...
... intervals and chords, however, is unmistakable. The simple-ratio intervals upon which Just Intonation is based are the fundamental constituents of melody and harmony. They are what the human auditory system recognizes as consonance, if it ever has the opportunity to hear them in a musical context. T ...
Dictionary of Musical Terms
... Augmented - The term for a major or perfect interval which has been enlarged by one half-step, e.g. c-g , (an augmented fifth,) or c-d , (an augmented second). Also used for a triad with an augmented fifth, e.g. the augmented tonic triad in C major, C+, c-e-g . Baby grand - A small grand piano. Bal ...
... Augmented - The term for a major or perfect interval which has been enlarged by one half-step, e.g. c-g , (an augmented fifth,) or c-d , (an augmented second). Also used for a triad with an augmented fifth, e.g. the augmented tonic triad in C major, C+, c-e-g . Baby grand - A small grand piano. Bal ...
Musical Dynamics (soft and loud) pp very soft Almost a whisper P
... loud Louder than a speaking voice ff very loud Speaking loudly Musical Notations M Men only sing the melody W Women only sing the melody U Unison (everyone sings the melody line) C Children only ...
... loud Louder than a speaking voice ff very loud Speaking loudly Musical Notations M Men only sing the melody W Women only sing the melody U Unison (everyone sings the melody line) C Children only ...
James Sully extract
... energy. Secondly, by a further process, they revive and render more or less distinctly recognizable to consciousness, varieties of emotional agitation, such as usually vent themselves in like vocal sounds. Finally, by a still longer operation of thought, these re-awakened feelings [229] are projecte ...
... energy. Secondly, by a further process, they revive and render more or less distinctly recognizable to consciousness, varieties of emotional agitation, such as usually vent themselves in like vocal sounds. Finally, by a still longer operation of thought, these re-awakened feelings [229] are projecte ...
presentation source
... during a musical piece. There are approximately 8-10 general dynamic levels which can have fractal properties. Though we did not use dynamic properties in our own fractals, they are another important aspect of the fractal properties of music ...
... during a musical piece. There are approximately 8-10 general dynamic levels which can have fractal properties. Though we did not use dynamic properties in our own fractals, they are another important aspect of the fractal properties of music ...
Elements_lecs_Chs1-6_musmaj
... scale?] Balinese “pentatonic scales” (p. 51): OMI 10 (slendro and 5-tone pelog) India: 22 microtones per octave; Arab music: 24 quarter tones per octave. OMI 11 (quarter tone scale, one octave) [If time, CD ex. 1-27, Egyptian quartertone accordion]. Also ornamentation, articulation. Scale vs. ...
... scale?] Balinese “pentatonic scales” (p. 51): OMI 10 (slendro and 5-tone pelog) India: 22 microtones per octave; Arab music: 24 quarter tones per octave. OMI 11 (quarter tone scale, one octave) [If time, CD ex. 1-27, Egyptian quartertone accordion]. Also ornamentation, articulation. Scale vs. ...
A CONTOUR-BASED JAZZ WALKING BASS GENERATOR
... [12] Barrie Nettles and R. Graf, ”The Chord Scale Theory and Jazz Harmony”. Rottenburg: Advance Music, ...
... [12] Barrie Nettles and R. Graf, ”The Chord Scale Theory and Jazz Harmony”. Rottenburg: Advance Music, ...
Music Periods, Styles, Composers
... and Plato, who advocated the philosophy that music influenced personality and emotions. A scale system was developed based on the use of tetrachords. It was during this period that tones were given specific letter names. The Romans were strongly influenced by Greek culture. Early Roman music served ...
... and Plato, who advocated the philosophy that music influenced personality and emotions. A scale system was developed based on the use of tetrachords. It was during this period that tones were given specific letter names. The Romans were strongly influenced by Greek culture. Early Roman music served ...
Document
... To fill out the Pythagorean scale, we need F. If we take 2C to be the 5th above F, then 2C= 3/2F, or F = 4/3 C ...
... To fill out the Pythagorean scale, we need F. If we take 2C to be the 5th above F, then 2C= 3/2F, or F = 4/3 C ...
Chorus Vocabulary
... Performance practices, means, traditions, uses, and beliefs about music of a group of people, either form a specific time or place. ...
... Performance practices, means, traditions, uses, and beliefs about music of a group of people, either form a specific time or place. ...
Advanced - Georgia Standards
... sound in tone production. b. Sing to develop the ability to match major, minor, and perfect intervals. c. Sing to reinforce melodic shape and stylistic elements of a melodic line or ostinato patterns. MHSAB.2 - Performing on instruments, alone and with others, a varied repertoire of music a. Demonst ...
... sound in tone production. b. Sing to develop the ability to match major, minor, and perfect intervals. c. Sing to reinforce melodic shape and stylistic elements of a melodic line or ostinato patterns. MHSAB.2 - Performing on instruments, alone and with others, a varied repertoire of music a. Demonst ...
Glossary of Common Musical Terms and Concepts
... motive - a short melodic or rhythmic phrase which is used to construct a theme sequence - a short musical phrase repeated either a step above or below ostinato - a repeated rhythmic or melodic motive, often used as an acommpaniment phrase - a musical 'sentence' expressing one idea question and answe ...
... motive - a short melodic or rhythmic phrase which is used to construct a theme sequence - a short musical phrase repeated either a step above or below ostinato - a repeated rhythmic or melodic motive, often used as an acommpaniment phrase - a musical 'sentence' expressing one idea question and answe ...
BG Vocab
... 6. Octave: Range between one note and the same note repeated either lower or higher. (From the root “oct-” meaning “eight” because there are eight natural notes in an octave.) 7. Scale: an arrangement of notes in a system of ascending or descending pitch, usually within an octave 8. Chromatic scale: ...
... 6. Octave: Range between one note and the same note repeated either lower or higher. (From the root “oct-” meaning “eight” because there are eight natural notes in an octave.) 7. Scale: an arrangement of notes in a system of ascending or descending pitch, usually within an octave 8. Chromatic scale: ...
Musical Terms and Definitions
... slowly, walking tempo (quarter note = approximately 55 to 70 on the metronome) a bit faster than andante, “dance-like” (quarter note = approximately 60 to 75 on the metronome) animated; suggests a faster tempo such as moderato or allegro a quick, decorative figure preceding a note the articulation o ...
... slowly, walking tempo (quarter note = approximately 55 to 70 on the metronome) a bit faster than andante, “dance-like” (quarter note = approximately 60 to 75 on the metronome) animated; suggests a faster tempo such as moderato or allegro a quick, decorative figure preceding a note the articulation o ...
musical terms
... A scale comprised of 5 notes, found in African, far Eastern and American Indian music Stacking notes in 4ths ...
... A scale comprised of 5 notes, found in African, far Eastern and American Indian music Stacking notes in 4ths ...
Romantic
... General Characteristics of Romantic Music • Dynamics extended, changes more frequently, less predictable • Range of tempos extended, more frequent, more adjectives • Melodies are longer, “yearning” quality, rubato • Harmony explores further, modulations, chromatic ...
... General Characteristics of Romantic Music • Dynamics extended, changes more frequently, less predictable • Range of tempos extended, more frequent, more adjectives • Melodies are longer, “yearning” quality, rubato • Harmony explores further, modulations, chromatic ...
Figured Bass and Tonality Recognition
... tonal and harmonic analysis, we first point out the problems raised by harmonic reduction. We then describe our algorithm, and show its use in some examples. In the subsequent section, we show the application of a simple process of tonality detection on top of harmonic reduction. The analysis tools ...
... tonal and harmonic analysis, we first point out the problems raised by harmonic reduction. We then describe our algorithm, and show its use in some examples. In the subsequent section, we show the application of a simple process of tonality detection on top of harmonic reduction. The analysis tools ...
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).