Psaltery - Gandharva Loka
... stretched triangle. The pegs are fixed at the edge on both sides. The strings are played between the pegs with a bow. The chromatic type has 20 strings with a scale from C´ to G´´. On the right side there are the notes of C major, on the left side the complementary half-notes. The pentatonic Psalter ...
... stretched triangle. The pegs are fixed at the edge on both sides. The strings are played between the pegs with a bow. The chromatic type has 20 strings with a scale from C´ to G´´. On the right side there are the notes of C major, on the left side the complementary half-notes. The pentatonic Psalter ...
Summary of Tonal Harmony - Leon Couch`s Course Listings
... CH18 Diatonic Common-chord Modulation 1. Distinguish between modulation and secondary functions by how long accidentals appear. 2. Scan for modulations in a score by looking for accidentals, esp. sharps. Can also look for cadences (5-1 in bass). 3. To find a pivot chord, spell chords in both keys an ...
... CH18 Diatonic Common-chord Modulation 1. Distinguish between modulation and secondary functions by how long accidentals appear. 2. Scan for modulations in a score by looking for accidentals, esp. sharps. Can also look for cadences (5-1 in bass). 3. To find a pivot chord, spell chords in both keys an ...
AoS2 – Harmony and Tonality
... ! Dissonant harmony really clashes ! It is often used to create suspense or tension in a composition and feels as if it needs to move towards more pleasing consonant harmonies to sound finished ...
... ! Dissonant harmony really clashes ! It is often used to create suspense or tension in a composition and feels as if it needs to move towards more pleasing consonant harmonies to sound finished ...
Time Signatures and Intervals
... Last thing on difficult Intervals : An interval may be greater than an octave. This is called a compound interval. Nothing else is changed and the process of naming remains the same. Always check the key signature on the left - does it affect the notes in the interval. Look left. ...
... Last thing on difficult Intervals : An interval may be greater than an octave. This is called a compound interval. Nothing else is changed and the process of naming remains the same. Always check the key signature on the left - does it affect the notes in the interval. Look left. ...
GRADE 5 OVERALL EXPECTATIONS Subject: Music
... STANDARD 2: Performing on instruments alone and with others a varied repertoire of music Learners will: ● Play a wide range of instruments with increasing accuracy in solo and ensemble performances; ● Play at least 7 pitches on a melodic instrument (soprano recorder); ● Perform complex rhythmi ...
... STANDARD 2: Performing on instruments alone and with others a varied repertoire of music Learners will: ● Play a wide range of instruments with increasing accuracy in solo and ensemble performances; ● Play at least 7 pitches on a melodic instrument (soprano recorder); ● Perform complex rhythmi ...
3rd Grade Music Curriculum SY1213
... instrumental pieces with help from the instructor, using a variety of sound sources. 3.7.1 Create a song with the teacher’s guidance, and record it or notate it. v Example: Help create a short song based on a story learned in class, either by helping to write the words or the melody. 3.7.2 Play a c ...
... instrumental pieces with help from the instructor, using a variety of sound sources. 3.7.1 Create a song with the teacher’s guidance, and record it or notate it. v Example: Help create a short song based on a story learned in class, either by helping to write the words or the melody. 3.7.2 Play a c ...
1 Consonance and Dissonance in Theory, Practice and Science
... progressions are preferred in which missing fundamentals in the current chord are realized in the following chord. So if a C chord implies the pitch F, there is a tendency for F to be included as a note in the following chord. This implication-realisation idea is not merely theoretical and perceptua ...
... progressions are preferred in which missing fundamentals in the current chord are realized in the following chord. So if a C chord implies the pitch F, there is a tendency for F to be included as a note in the following chord. This implication-realisation idea is not merely theoretical and perceptua ...
1 - State Examination Commission
... No marks for chord if suffix omitted / minor chords not indicated correctly or any accidental omitted. Dominant may be followed by Dominant 7th. .5 mark per correct bass note under each correct chord symbol in boxes 2-23. 1 mark for correct bass note under box 24. Chord symbol and bass note must mat ...
... No marks for chord if suffix omitted / minor chords not indicated correctly or any accidental omitted. Dominant may be followed by Dominant 7th. .5 mark per correct bass note under each correct chord symbol in boxes 2-23. 1 mark for correct bass note under box 24. Chord symbol and bass note must mat ...
Chapter 3 - SCHOOLinSITES
... Elements used to create it Scale – 12 major scales on which most music is based Intervals – combination using notes of a scale create melody ...
... Elements used to create it Scale – 12 major scales on which most music is based Intervals – combination using notes of a scale create melody ...
GCSE Music Revision Guide
... Pedal vs. drone: A pedal tone is a repeated note, typically with other notes around it. When a pedal tone is being performed the player will keep returning to the note even though he is playing other notes. The pedal note is typically in the bass (lowest) note, however there are instances where t ...
... Pedal vs. drone: A pedal tone is a repeated note, typically with other notes around it. When a pedal tone is being performed the player will keep returning to the note even though he is playing other notes. The pedal note is typically in the bass (lowest) note, however there are instances where t ...
non-serial criteria in the pitch organization of webern`s twelve
... same composers. An expressionist and progressively more succinct aesthetic called for a more concentrated music. Against a background of exaggeratedly chromatic tonality, this evolution was to produce a highly unstable musical language, without moments of relaxation, without tonal definition, withou ...
... same composers. An expressionist and progressively more succinct aesthetic called for a more concentrated music. Against a background of exaggeratedly chromatic tonality, this evolution was to produce a highly unstable musical language, without moments of relaxation, without tonal definition, withou ...
Baroque Time Period
... • Book written by J.S. Bach • Described the tuning system for major and minor ...
... • Book written by J.S. Bach • Described the tuning system for major and minor ...
Document
... C, C#, D, D#, E, F, F#, G, G#, A, A#, B Note that C7dim is the same as D#7dim, F#7dim and A7dim. This is an ambiguous chord and can resolve into many possible chords. There are only 4 diminished 7th chords. ...
... C, C#, D, D#, E, F, F#, G, G#, A, A#, B Note that C7dim is the same as D#7dim, F#7dim and A7dim. This is an ambiguous chord and can resolve into many possible chords. There are only 4 diminished 7th chords. ...
Vol. 8 - Great Choral Classics - Causeway Performing Arts= The
... probably have found how difficult it is to read the music, watch the conductor (who is usually some distance from you) and stay in time with everyone else. Creating effective changes in tempo or dynamics require everyone to watch the conductor and respond to his signals at the same time - very diffi ...
... probably have found how difficult it is to read the music, watch the conductor (who is usually some distance from you) and stay in time with everyone else. Creating effective changes in tempo or dynamics require everyone to watch the conductor and respond to his signals at the same time - very diffi ...
Vowels, Musical Intervals, and Alpine Yodeling 1 2 ← 3 →
... following a syllable containing an [i] the melody descended; in one case the melody raised, in two cases the pitches stayed at the same. And in the 133 instances of an [o]→[i] succession the melody ascended with only one excep?on (equal pitch). Instances of an [i] followed or preced ...
... following a syllable containing an [i] the melody descended; in one case the melody raised, in two cases the pitches stayed at the same. And in the 133 instances of an [o]→[i] succession the melody ascended with only one excep?on (equal pitch). Instances of an [i] followed or preced ...
Music Notes for the Fourth Sunday of Easter
... salvation seemed to lie in the parts of Europe that still followed the “One True Church” based in Rome, and their music veered markedly towards the mainland model as they sought to provide music for masses and offices that were often held by priests imported from the mainland. Nevertheless, this had ...
... salvation seemed to lie in the parts of Europe that still followed the “One True Church” based in Rome, and their music veered markedly towards the mainland model as they sought to provide music for masses and offices that were often held by priests imported from the mainland. Nevertheless, this had ...
A Crash Course in Renaissance Counterpoint
... Augmented/diminished intervals were rarely used, they are only for especially expressive moments in pieces by rule -breakers like Gesualdo, Monteverdi, d’India , etc.! ...
... Augmented/diminished intervals were rarely used, they are only for especially expressive moments in pieces by rule -breakers like Gesualdo, Monteverdi, d’India , etc.! ...
Repetitive Minimalism: A historical style or a perspective
... Perhaps it is important to divide the two concepts “minimal” and “repetitive”. “Minimal” refers to the used musical material: it has to be very poor, reduced to a minimum of musical parameters (a chord, a melody with just one or a few sounds, a simple infrastructure like pentatonic or modal, basic r ...
... Perhaps it is important to divide the two concepts “minimal” and “repetitive”. “Minimal” refers to the used musical material: it has to be very poor, reduced to a minimum of musical parameters (a chord, a melody with just one or a few sounds, a simple infrastructure like pentatonic or modal, basic r ...
P5a - Piano Grade 5
... • There is generally one main mood, one main theme, and one main rhythmic pattern used throughout a Baroque composition. • It is usually performed with a constant rhythmic pulse. • Counterpoint (the simultaneous sounding of different melodic lines) and imitation are frequently used, so both hands ar ...
... • There is generally one main mood, one main theme, and one main rhythmic pattern used throughout a Baroque composition. • It is usually performed with a constant rhythmic pulse. • Counterpoint (the simultaneous sounding of different melodic lines) and imitation are frequently used, so both hands ar ...
20th Century Music National 5
... 4 (a) What is meant by the term ‘reverb?’ _____________________________ ______________________________________________________________ ______________________________________________________________ (b) State the names of two instruments which can perform with reverb during a live performance (i.e. n ...
... 4 (a) What is meant by the term ‘reverb?’ _____________________________ ______________________________________________________________ ______________________________________________________________ (b) State the names of two instruments which can perform with reverb during a live performance (i.e. n ...
The Concept of African Pianism Emmanuel Boamah1 Abstract
... elements of African music in their works in the hope of creating a new idiom of African music. When such composers write a symphony, for example, they use African folk tunes for their thematic material in the belief that this is sufficient to produce an African symphony. Yet not only do the folk tun ...
... elements of African music in their works in the hope of creating a new idiom of African music. When such composers write a symphony, for example, they use African folk tunes for their thematic material in the belief that this is sufficient to produce an African symphony. Yet not only do the folk tun ...
Set Work Summaries - The Hazeley Academy
... melody, running scales, sustained notes and chords and made up of 1ST AND 2ND VIOLINS, VIOLAS (performing from the alto clef and sometimes “div.” (opening) where they divide into two sections), CELLOS and DOUBLE BASSES performing the same notes as the Cellos, but sounding an octave lower. The DOUBLE ...
... melody, running scales, sustained notes and chords and made up of 1ST AND 2ND VIOLINS, VIOLAS (performing from the alto clef and sometimes “div.” (opening) where they divide into two sections), CELLOS and DOUBLE BASSES performing the same notes as the Cellos, but sounding an octave lower. The DOUBLE ...
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).