38. Schubert Der Doppelgänger Background information and performance circumstances 1
... • It has mostly chords containing five notes – but only because there is much parallel doubling*. • It often has just two ‘real’ parts – double octaves at the top, middle and bottom (= one part), plus octave F sharps (= second part). See Ex. 1 (a). • It has some chords with six or seven notes – four ...
... • It has mostly chords containing five notes – but only because there is much parallel doubling*. • It often has just two ‘real’ parts – double octaves at the top, middle and bottom (= one part), plus octave F sharps (= second part). See Ex. 1 (a). • It has some chords with six or seven notes – four ...
Chinese musical scales are all based pentatonic scales. There are
... Each scale has many kind of variations. To add one or tow Pianyin(deviate tone) to get a variation scale. For example, we can add an F in the C Gong scale, The scale become a six tone scale. Or add a B to the C Shang scale, etc. Also we can add tow Pianyin(deviate tone) to a scale to get a seven ton ...
... Each scale has many kind of variations. To add one or tow Pianyin(deviate tone) to get a variation scale. For example, we can add an F in the C Gong scale, The scale become a six tone scale. Or add a B to the C Shang scale, etc. Also we can add tow Pianyin(deviate tone) to a scale to get a seven ton ...
NCEA Level 2 Music (91275) 2012 Assessment Schedule
... slightly slower, but seems faster as the (string) accompaniment is in quavers instead of crotchets. ...
... slightly slower, but seems faster as the (string) accompaniment is in quavers instead of crotchets. ...
Chapter 3: Color, Texture, and Form Dynamics
... • Voice: Classified by range into 4 parts – Soprano, (Mezzo soprano), Alto, Tenor, (Baritone), Bass – Each individual voice has a distinct timbre due to our uniquely constructed vocal cords – When many voices join together, they form a chorus ...
... • Voice: Classified by range into 4 parts – Soprano, (Mezzo soprano), Alto, Tenor, (Baritone), Bass – Each individual voice has a distinct timbre due to our uniquely constructed vocal cords – When many voices join together, they form a chorus ...
Harmonic Progression - LearnMusicTheory.net
... Since the subdominant chord (IV or iv) is a fifth below the tonic, it is the third strongest harmony after tonic and dominant. Subdominant can move down a third to ii (shown above), or to leading tone, dominant, or tonic. IV to I (or iv to i) is called the plagal progression. All of these progressio ...
... Since the subdominant chord (IV or iv) is a fifth below the tonic, it is the third strongest harmony after tonic and dominant. Subdominant can move down a third to ii (shown above), or to leading tone, dominant, or tonic. IV to I (or iv to i) is called the plagal progression. All of these progressio ...
Other diatonic 7th chords
... Music 232 Chapter 15, Other Seventh Chords These notes are a distillation of Kostka/Payne's Tonal Harmony. They are in no way a substitute for reading and working through the actual text book. Overview The IV7, VI7, I7 and III7 chords follow the same voice leading tendencies as the more frequently-u ...
... Music 232 Chapter 15, Other Seventh Chords These notes are a distillation of Kostka/Payne's Tonal Harmony. They are in no way a substitute for reading and working through the actual text book. Overview The IV7, VI7, I7 and III7 chords follow the same voice leading tendencies as the more frequently-u ...
HARMONIC CONSONANCE: A THEORETIC AND COGNITIVE
... indeterminacy and a probabilistic behaviour of the components of the acoustic chain. The main point is that even if we can not localise this phenomena precisely in the chain, we will be able to predict the final global representation accessible to the mind. It allows to establish a relation in betwe ...
... indeterminacy and a probabilistic behaviour of the components of the acoustic chain. The main point is that even if we can not localise this phenomena precisely in the chain, we will be able to predict the final global representation accessible to the mind. It allows to establish a relation in betwe ...
Musical Terms and Expressions Definitions
... sections. Pentatonic - a scale having five tones to the octave, usually avoiding half steps. (The students played a song on the xylophone using the notes C,D,E,G, and A from the pentatonic scale.) Phrase - a complete musical thought. Piano - soft Pizzicato - pluck strings instead of bowing Presto - ...
... sections. Pentatonic - a scale having five tones to the octave, usually avoiding half steps. (The students played a song on the xylophone using the notes C,D,E,G, and A from the pentatonic scale.) Phrase - a complete musical thought. Piano - soft Pizzicato - pluck strings instead of bowing Presto - ...
UNIT 1: Intervals and Scales
... Construct 4part chords from a given Roman Numeral series utilizing the correct accidentals based on the correct scale form. ...
... Construct 4part chords from a given Roman Numeral series utilizing the correct accidentals based on the correct scale form. ...
The Sound of It: Chords and “Sonority”
... terms of music theory. If there are words you don’t understand, you can research them in just about any music dictionary, book, or just type “music theory basics” into Google and follow the links. My main concern here is to clear up the problems created when we borrow terms from Western music and th ...
... terms of music theory. If there are words you don’t understand, you can research them in just about any music dictionary, book, or just type “music theory basics” into Google and follow the links. My main concern here is to clear up the problems created when we borrow terms from Western music and th ...
Benward Chapter 6
... Tonal Center (Tonality) Organized in scales, with key signatures that show immediately what tonal materials can be expected in a piece of music and placed together simultaneously to produce intervals or chords ...
... Tonal Center (Tonality) Organized in scales, with key signatures that show immediately what tonal materials can be expected in a piece of music and placed together simultaneously to produce intervals or chords ...
Ask Hohner`s Harmonica Tech
... layout, there is a central melody scale and lower notes tuned to the major chord on blow and draw. Such harmonicas were tuned to “Just Intonation” for a more pleasing, pure chord, where notes are more harmonically in tune with each other and the chords sound clean. The application of single reed dia ...
... layout, there is a central melody scale and lower notes tuned to the major chord on blow and draw. Such harmonicas were tuned to “Just Intonation” for a more pleasing, pure chord, where notes are more harmonically in tune with each other and the chords sound clean. The application of single reed dia ...
File - sdc music resources
... changes and the instrumental and compositional techniques (remind yourself of the points made today) Prepare yourself for any dictation by thinking about likely dictation excerpts (look at the practice examples 1,2 and 3 on the last page of the Deane section of these notes) ...
... changes and the instrumental and compositional techniques (remind yourself of the points made today) Prepare yourself for any dictation by thinking about likely dictation excerpts (look at the practice examples 1,2 and 3 on the last page of the Deane section of these notes) ...
PERSIAN TRADITIONAL MUSIC - Foundation for Iranian Studies
... creativity or performance, however, remains unclear. Music had remained essentially an aural tradition; no practical system of notation for transmission and dissemination of music seems to have emerged. Except for a few compositions by Abdol Qader Maraqi from the early 15th century, written in a per ...
... creativity or performance, however, remains unclear. Music had remained essentially an aural tradition; no practical system of notation for transmission and dissemination of music seems to have emerged. Except for a few compositions by Abdol Qader Maraqi from the early 15th century, written in a per ...
Document
... When a student starts learning to solo, the first set of scales are usually the pentatonic scales. It is a good place to start and they easily turn into blues scales. In my experience, most students at some point will give up on these scales. Perhaps they are limiting in fretboard usage. Some compla ...
... When a student starts learning to solo, the first set of scales are usually the pentatonic scales. It is a good place to start and they easily turn into blues scales. In my experience, most students at some point will give up on these scales. Perhaps they are limiting in fretboard usage. Some compla ...
AOS 2 Gamelan
... made up of seven notes and the slendro scale made up of five notes (pentatonic scale). * The main melody is based on one of these two types of scale and is called the Balungen. This melody is repeated over and over again to make a cyclic melody and is often performed by the sarons. * Other instrumen ...
... made up of seven notes and the slendro scale made up of five notes (pentatonic scale). * The main melody is based on one of these two types of scale and is called the Balungen. This melody is repeated over and over again to make a cyclic melody and is often performed by the sarons. * Other instrumen ...
Indian
... Based on the raga, which is a melodic scale. It can be major or minor. A raga must contain a minimum of 5 notes. melodic framework for improvisation and composition. ...
... Based on the raga, which is a melodic scale. It can be major or minor. A raga must contain a minimum of 5 notes. melodic framework for improvisation and composition. ...
CH. 20 Musical Sounds - Stephen F. Austin State University
... • Joseph Fourier, in 1822, discovered that a complicated periodic wave could be constructed by simple sinusoidal waves, and likewise deconstructed into simple sinusoidal waves. ...
... • Joseph Fourier, in 1822, discovered that a complicated periodic wave could be constructed by simple sinusoidal waves, and likewise deconstructed into simple sinusoidal waves. ...
A GUIDE TO THE TERMINOLOGY OF GERMAN HARMONY
... connection, what the Germans call the “parallel” relation, is known in English as the “relative” relation: the association of major and minor scales sharing the same diatonic pitches (e.g., A minor and C major). To complete the reduction of the major-mode diatonic triads to the three harmonic functi ...
... connection, what the Germans call the “parallel” relation, is known in English as the “relative” relation: the association of major and minor scales sharing the same diatonic pitches (e.g., A minor and C major). To complete the reduction of the major-mode diatonic triads to the three harmonic functi ...
Higher Music Concepts
... constant. Grouping of two and three produce irregular accents and metres. Sometimes 20 th century composers tried to destroy the feeling of a regular down-beat by frequently changing the time signature. Stravinsky often did this, especially in ‘The Rite of Spring’. ...
... constant. Grouping of two and three produce irregular accents and metres. Sometimes 20 th century composers tried to destroy the feeling of a regular down-beat by frequently changing the time signature. Stravinsky often did this, especially in ‘The Rite of Spring’. ...
The 7-4-2 chord in early Italian recitative
... There has been a recent vogue to sprinkle these chords liberally throughout early 17 th-century recitatives, although some continuo players are now restricting their use in music of the very earliest Baroque composers such as Monteverdi. Common continuo notation for this progression is as follows: E ...
... There has been a recent vogue to sprinkle these chords liberally throughout early 17 th-century recitatives, although some continuo players are now restricting their use in music of the very earliest Baroque composers such as Monteverdi. Common continuo notation for this progression is as follows: E ...
Music 170 Homework problem set 6 (due Nov. 3) 1. Two pipes, both
... pitched one is 1/2 meter long, how long must the other (higher pitched) one be? 2. Three alpenhorns are tuned so that the second one is a perfect fifth above the first, and the third one is a perfect fifth above the second one. If the first one sounds at 100 Hz, at what frequency does the third, hig ...
... pitched one is 1/2 meter long, how long must the other (higher pitched) one be? 2. Three alpenhorns are tuned so that the second one is a perfect fifth above the first, and the third one is a perfect fifth above the second one. If the first one sounds at 100 Hz, at what frequency does the third, hig ...
Chapter 10 Harmonic Progression
... inverted) • The basis of all harmonic progression • Found in succession: ii-V-I, or even ...
... inverted) • The basis of all harmonic progression • Found in succession: ii-V-I, or even ...
POTTER VOICE STUDIO INTERVALS , SCALES , KE Y
... When a major interval is raised by a half step, it becomes augmented. When a major interval is lowered by a half step, it becomes minor. When a major interval is lowered by two half steps, it becomes diminished. When a minor interval is raised by a half step, it becomes major. When a minor interval ...
... When a major interval is raised by a half step, it becomes augmented. When a major interval is lowered by a half step, it becomes minor. When a major interval is lowered by two half steps, it becomes diminished. When a minor interval is raised by a half step, it becomes major. When a minor interval ...
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).