L 8-‐9 Musical Scales, Chords , and Intervals, The Pythagorean and
... 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 ...
20th Century Music Week
... down and experimented with simple pitches and increasingly complex rhythms, creating beautifully hypnotic music. ...
... down and experimented with simple pitches and increasingly complex rhythms, creating beautifully hypnotic music. ...
Impressionism and Expressionism
... to write in a special musical form as the Viennese Classic or the Romantic did. There for impressionist music isn't bound to any rules given by a musical form. More importantly they concentrated on the tone colour to convey the atmosphere and the mood of a specific moment. Often musical ideas aren't ...
... to write in a special musical form as the Viennese Classic or the Romantic did. There for impressionist music isn't bound to any rules given by a musical form. More importantly they concentrated on the tone colour to convey the atmosphere and the mood of a specific moment. Often musical ideas aren't ...
A2 2, Part 2: Written Examination (MS)
... lighter type of secular vocal music, simple in style, texts are rarely serious with limited use of word painting • modelled on the Italian balletto/influenced by Italian composers, e.g. Gastoldi • strophic in form – two or more verses set to the same music • mainly homophonic texture with ...
... lighter type of secular vocal music, simple in style, texts are rarely serious with limited use of word painting • modelled on the Italian balletto/influenced by Italian composers, e.g. Gastoldi • strophic in form – two or more verses set to the same music • mainly homophonic texture with ...
Vocabulary Cheat Sheet
... Allegro: Lively, fast tempo Moderato: Moderate tempo Blend: Mixing the same vowels and tones together equally in a correct manner. Balance: The volume of each voice part is equally distributed throughout. Rhythm: Controlled movement of music in time. Meter: Measure of time. Melody: Dominant tune of ...
... Allegro: Lively, fast tempo Moderato: Moderate tempo Blend: Mixing the same vowels and tones together equally in a correct manner. Balance: The volume of each voice part is equally distributed throughout. Rhythm: Controlled movement of music in time. Meter: Measure of time. Melody: Dominant tune of ...
the bolero of maurice ravel: an example of
... This rhythmic figure is played by snare drums for all the piece, while the other instruments play the main motif in turn. Snare drums ...
... This rhythmic figure is played by snare drums for all the piece, while the other instruments play the main motif in turn. Snare drums ...
投影片 1
... or chromatic), modes (early music, nonWestern), or artificial scales Does one use twelve-tone serialism, x-tone serialism, limited intervallic patterns, etc. Does one generate pitches according to some systems of thought Does the rational pitch organisation make any sense in aural effects ...
... or chromatic), modes (early music, nonWestern), or artificial scales Does one use twelve-tone serialism, x-tone serialism, limited intervallic patterns, etc. Does one generate pitches according to some systems of thought Does the rational pitch organisation make any sense in aural effects ...
Chapter 7 – Notes CHORDS A chord is a group of three or more
... Assignment 7.1, I, A and B (71) The bottom note is called the ROOT. When this note is on the bottom, the chord is in ROOT POSITION. ...
... Assignment 7.1, I, A and B (71) The bottom note is called the ROOT. When this note is on the bottom, the chord is in ROOT POSITION. ...
Intro to Musical Acoustics
... • Inharmonic sounds may have a perceived pitch, but it is not merely the fundamental of some harmonic series ...
... • Inharmonic sounds may have a perceived pitch, but it is not merely the fundamental of some harmonic series ...
Introduction to Musical Acoustics handout pdf
... • Inharmonic sounds may have a perceived pitch, but it is not merely the fundamental of some harmonic series ...
... • Inharmonic sounds may have a perceived pitch, but it is not merely the fundamental of some harmonic series ...
OTHER SCALES CHROMATIC SCALE The scale consisting of all
... The names of the modes are derived from the Church modes. Dorian, Phrygian, Lydian, and Mixolydian date from about the 8th century. Ionian and Aeolian were added to the system by the theorist Glareanus in his treatise, Dodekachordon (1547). Locrian mode was only a theoretical possibility and not use ...
... The names of the modes are derived from the Church modes. Dorian, Phrygian, Lydian, and Mixolydian date from about the 8th century. Ionian and Aeolian were added to the system by the theorist Glareanus in his treatise, Dodekachordon (1547). Locrian mode was only a theoretical possibility and not use ...
Helen Jane Long
... Worked for the children’s shows “Blue Peter” and “Live and kicking” Worked with many composers Served as a music score assistant for composer Howard Shore on the trilogy: The Lord of the ...
... Worked for the children’s shows “Blue Peter” and “Live and kicking” Worked with many composers Served as a music score assistant for composer Howard Shore on the trilogy: The Lord of the ...
“Eric Whitacre Sleep” Analysis
... we see the appearance of one of Whitacre’s trademark devices: pedal notes (pitches that are repeated unchanged while the harmony around them changes). These pedal notes result in suspensions (a dissonance created by sustaining a note of a chord into a following chord) and shimmering, complex harmoni ...
... we see the appearance of one of Whitacre’s trademark devices: pedal notes (pitches that are repeated unchanged while the harmony around them changes). These pedal notes result in suspensions (a dissonance created by sustaining a note of a chord into a following chord) and shimmering, complex harmoni ...
GCSE Revision - Stratford School Academy
... Intensely emotional, with a wider range of emotions Melodies are often long, lyrical and expressive Orchestral textures much thicker (expansion of orchestra) Harmonies and melodies increasingly chromatic and discordant Special chords e.g.: Diminished 7th, Neopolitan 6th and Augmented 6th. Chords oft ...
... Intensely emotional, with a wider range of emotions Melodies are often long, lyrical and expressive Orchestral textures much thicker (expansion of orchestra) Harmonies and melodies increasingly chromatic and discordant Special chords e.g.: Diminished 7th, Neopolitan 6th and Augmented 6th. Chords oft ...
supplementaryMaterial_08Dec15
... tone, tone, tone, semitone. The key signature (e.g., C Major) refers to the first note of that subset, which is the tonal “center” (and scale degree 1) of the key. For example, the white notes of the piano, beginning on C, form a Major scale (C, D, E, F, G, A, B, C). The scale degrees form a hierarc ...
... tone, tone, tone, semitone. The key signature (e.g., C Major) refers to the first note of that subset, which is the tonal “center” (and scale degree 1) of the key. For example, the white notes of the piano, beginning on C, form a Major scale (C, D, E, F, G, A, B, C). The scale degrees form a hierarc ...
Elements of Music
... Many times you may see chords with another note next to it Such as D/F#. Usually this note is already in the chord, but they want you to highlight it as a bass note. Bass players can usually stick to going with the second note. Another popular chord is a suspended chord. It would be written like As ...
... Many times you may see chords with another note next to it Such as D/F#. Usually this note is already in the chord, but they want you to highlight it as a bass note. Bass players can usually stick to going with the second note. Another popular chord is a suspended chord. It would be written like As ...
Ben Johnston Pantonality Generalized
... their deliberate blurriness. By allowing pitches of flexible instruments to drift around by about a comma (1/8 tone) while nominally distinguishing spelling, 12 inflected tones could suffice to approximate 24 major and minor modes. Musicians were expected to understand and apply subtleties of intona ...
... their deliberate blurriness. By allowing pitches of flexible instruments to drift around by about a comma (1/8 tone) while nominally distinguishing spelling, 12 inflected tones could suffice to approximate 24 major and minor modes. Musicians were expected to understand and apply subtleties of intona ...
The Science of Music
... The quality of a musical sound is a combination of the fundamental frequency and additional frequencies called overtones that give each musical instrument its own unique sound. ( A guitar never sounds like a trombone.) ...
... The quality of a musical sound is a combination of the fundamental frequency and additional frequencies called overtones that give each musical instrument its own unique sound. ( A guitar never sounds like a trombone.) ...
Music Glossary
... binary: a form or structure in music that has two distinct and contrasting sections (AB), each of which may or may not be repeated. bluegrass: a style of music featuring folk instruments; quite rhythmical. blues: early and basic jazz style of music with a predictable chord structure; not religious a ...
... binary: a form or structure in music that has two distinct and contrasting sections (AB), each of which may or may not be repeated. bluegrass: a style of music featuring folk instruments; quite rhythmical. blues: early and basic jazz style of music with a predictable chord structure; not religious a ...
Tonal Harmony Chapter 7 Harmonic Progression and the Sequence
... Harmonic Progression and the Sequence Introduction Tonal Harmony developed slowly out of the great polyphonic modal tradition of the Renaissance period (1430-1600) The “rule” of counterpoint resulted in certain recurring and recognizable combinations of chords (tonal harmony) which is the heart ...
... Harmonic Progression and the Sequence Introduction Tonal Harmony developed slowly out of the great polyphonic modal tradition of the Renaissance period (1430-1600) The “rule” of counterpoint resulted in certain recurring and recognizable combinations of chords (tonal harmony) which is the heart ...
Establishing the Elements of Music Groundwork
... register sounds such as the ones produced by the bass instruments. Others enjoy high register sounds such as the ones produced by the violin. But it can also work the other way around. As an interesting fact, a deaf person is only able to listen and recognize low register sounds. The middle and high ...
... register sounds such as the ones produced by the bass instruments. Others enjoy high register sounds such as the ones produced by the violin. But it can also work the other way around. As an interesting fact, a deaf person is only able to listen and recognize low register sounds. The middle and high ...
Establishing the Elements of Music Groundwork
... register sounds such as the ones produced by the bass instruments. Others enjoy high register sounds such as the ones produced by the violin. But it can also work the other way around. As an interesting fact, a deaf person is only able to listen and recognize low register sounds. The middle and high ...
... register sounds such as the ones produced by the bass instruments. Others enjoy high register sounds such as the ones produced by the violin. But it can also work the other way around. As an interesting fact, a deaf person is only able to listen and recognize low register sounds. The middle and high ...
music and solfege lesson
... • improvises short musical phrases based on C pentatonic scale MUS2.3 Uses commonly understood symbols to represent own work • notates compositions using graphic and/or traditional notation. MUS2.4 Identifies the use of musical concepts and musical symbols in a range of repertoire • discusses musica ...
... • improvises short musical phrases based on C pentatonic scale MUS2.3 Uses commonly understood symbols to represent own work • notates compositions using graphic and/or traditional notation. MUS2.4 Identifies the use of musical concepts and musical symbols in a range of repertoire • discusses musica ...
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).