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Making Music - Sing Anyway
... or by the conductor. Phrasing can include expressive markings, breath marks, pauses, changes in dynamics, and changes in tempo. ...
... or by the conductor. Phrasing can include expressive markings, breath marks, pauses, changes in dynamics, and changes in tempo. ...
Musical Modes Explained
... with each new mode is a different sequence of half steps and whole steps, and it is that specific sequence that defines each mode. Historically, the term “mode” and not “scale” was used for all these note sequences, going back to the ancient Greeks. Over time, the term for two particular modes – ion ...
... with each new mode is a different sequence of half steps and whole steps, and it is that specific sequence that defines each mode. Historically, the term “mode” and not “scale” was used for all these note sequences, going back to the ancient Greeks. Over time, the term for two particular modes – ion ...
How To Play Chopin
... THE RIGHT KIND OF TONE is the basic medium in the process of developing an interpretive concept for a piece of music by any composer. In the case of Chopin the tone must be soft and resonant, with a singing quality through its entire dynamic scale (the piano bel canto), not too "broad" (unlike e. g. ...
... THE RIGHT KIND OF TONE is the basic medium in the process of developing an interpretive concept for a piece of music by any composer. In the case of Chopin the tone must be soft and resonant, with a singing quality through its entire dynamic scale (the piano bel canto), not too "broad" (unlike e. g. ...
An analytical approach to vibraphone performance through the
... group in 1944 and recorded an album entitled Hallelujah! Slam Slam Blues. This is the first album to feature the vibraphone as a lead instrument for an entire album, thereby establishing it as a viable jazz medium.6 The roots of Hampton’s and Norvo’s styles lie in formal percussion techniques. Thei ...
... group in 1944 and recorded an album entitled Hallelujah! Slam Slam Blues. This is the first album to feature the vibraphone as a lead instrument for an entire album, thereby establishing it as a viable jazz medium.6 The roots of Hampton’s and Norvo’s styles lie in formal percussion techniques. Thei ...
Thumb piano - Vaiden.net
... alternating right-left fashion, results in chords being made by adjacent tines. When any tine is plucked, the adjacent tines also vibrate, and these harmonizing secondary vibrations serve a similar role to the harmonic overtones of a string instrument - they increase the harmonic complexity of an in ...
... alternating right-left fashion, results in chords being made by adjacent tines. When any tine is plucked, the adjacent tines also vibrate, and these harmonizing secondary vibrations serve a similar role to the harmonic overtones of a string instrument - they increase the harmonic complexity of an in ...
Keynote Presentation
... text-based or numeric formats that general-purpose statistical or information-retrieval tools can manipulate. In practice the complexities of music notation and theory result in these tools rarely being sufficient. For instance, a researcher might want to compare how closely the music of two compose ...
... text-based or numeric formats that general-purpose statistical or information-retrieval tools can manipulate. In practice the complexities of music notation and theory result in these tools rarely being sufficient. For instance, a researcher might want to compare how closely the music of two compose ...
Estimating Resemblance of MIDI Documents
... using pitch by pitch sketches; we may try all possible transpositions and take the maximum resemblance as the resemblance between two MIDI files. While this certainly solves the problem, it slows the computation substantially. (There are up to 128 transpositions to try.) In practice we may try the fe ...
... using pitch by pitch sketches; we may try all possible transpositions and take the maximum resemblance as the resemblance between two MIDI files. While this certainly solves the problem, it slows the computation substantially. (There are up to 128 transpositions to try.) In practice we may try the fe ...
Lesson_UUU_-_The_Maj..
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and each intervening letter name is used once and only once. Try again.”] In this lesson, we wi ...
... spelled in ascending order and begins and ends on the keynote, the letter G is used twice (G and G#).” Response if incorrect: “Incorrect. This scale is spelled correctly: it begins and ends on the keynote and each intervening letter name is used once and only once. Try again.”] In this lesson, we wi ...
Write like Mozart – lecture notes Table of Contents
... Chromatic substitutions: augmented sixth chords..............................................................................52 Types of augmented sixth..............................................................................................................53 Voice leading...................... ...
... Chromatic substitutions: augmented sixth chords..............................................................................52 Types of augmented sixth..............................................................................................................53 Voice leading...................... ...
1 Lad: A Selective or Universal Category? Tatiana S. Bershadskaya
... mandatory!) music text is intonationally acceptable. Music lacks lad only for someone who is unfamiliar with the intonational structure of the music text or does not accept it in the same way, just as spoken words may be incomprehensible to a listener who does not speak that language. At the same ti ...
... mandatory!) music text is intonationally acceptable. Music lacks lad only for someone who is unfamiliar with the intonational structure of the music text or does not accept it in the same way, just as spoken words may be incomprehensible to a listener who does not speak that language. At the same ti ...
The Classical Indian Just Intonation Tuning System
... sruti dhaivata and so on. – For the cycle of fourths, add 498 in each case and proceed as mentioned above. 2. Arithmetical method. The octave consists of 22 srutis. The panchama has 13 srutis and suddha mydhyama 9. (13 + 9) = 22. Take madhya shadja as equal to 0. Its Panchama is the 13th sruti. The ...
... sruti dhaivata and so on. – For the cycle of fourths, add 498 in each case and proceed as mentioned above. 2. Arithmetical method. The octave consists of 22 srutis. The panchama has 13 srutis and suddha mydhyama 9. (13 + 9) = 22. Take madhya shadja as equal to 0. Its Panchama is the 13th sruti. The ...
Ashley Howard-Lewis Senior Thesis April 2015
... half of the length of the original) in length. The augmentation contains three different literary themes (Code 511). Though Debussy's Prelude is far from a fugue, Code observes that Mallarme's literary fugue gave Debussy a "clear template" for his composition (Code 517). Debussy set up his interpre ...
... half of the length of the original) in length. The augmentation contains three different literary themes (Code 511). Though Debussy's Prelude is far from a fugue, Code observes that Mallarme's literary fugue gave Debussy a "clear template" for his composition (Code 517). Debussy set up his interpre ...
scale networks and debussy
... The second approach, associated with composers like RimskyKorsakov, Debussy, and Ravel, preserved a more conventional understanding of the relation between chord and scale, but within a significantly expanded musical vocabulary. New scales provided access to new chords, while new chords, in turn, su ...
... The second approach, associated with composers like RimskyKorsakov, Debussy, and Ravel, preserved a more conventional understanding of the relation between chord and scale, but within a significantly expanded musical vocabulary. New scales provided access to new chords, while new chords, in turn, su ...
A Geometric Property of the Octatonic Scale 1 Praeludium
... If a decachord is to be dyadically partitioned by tritones then it must contain five of the six possible tritones which implies that the two omitted pitchclasses must lie at the extremities of the “missing” tritone and, hence, must be diametrically opposed as in Figure 19. But, the decachord shown th ...
... If a decachord is to be dyadically partitioned by tritones then it must contain five of the six possible tritones which implies that the two omitted pitchclasses must lie at the extremities of the “missing” tritone and, hence, must be diametrically opposed as in Figure 19. But, the decachord shown th ...
Tintinnabuli - bibsys brage
... In the next few years Pärt created a large number of works in his newly developed style. All those pieces seem to have something in common, as if they belonged to a one large work process, the exploration of tintinnabuli. Those works share the same musical concept but there are no repetitions of any ...
... In the next few years Pärt created a large number of works in his newly developed style. All those pieces seem to have something in common, as if they belonged to a one large work process, the exploration of tintinnabuli. Those works share the same musical concept but there are no repetitions of any ...
Tempo Ligeti the Postmodernist?
... . . . the melodicaUy shaped parts retain their individuality, they move simultaneously at varying speeds and possess a melodic and rhythmic line of their own, varying from and independent of the other parts. In this way melodic shape, that forbidden fruit of modern music, can to some extent be resto ...
... . . . the melodicaUy shaped parts retain their individuality, they move simultaneously at varying speeds and possess a melodic and rhythmic line of their own, varying from and independent of the other parts. In this way melodic shape, that forbidden fruit of modern music, can to some extent be resto ...
1 The Concept of Tonality in Fétis`s Traité Judy Lochhead Master of
... As a result of the second step in this process, some sort of linear pitch order is the fundamental musical construct from which a tonality is generated. Fétis refers specifically in the Traité to this structure as a scale, and in the Histoire, one finds that he deals with the scale structures of oth ...
... As a result of the second step in this process, some sort of linear pitch order is the fundamental musical construct from which a tonality is generated. Fétis refers specifically in the Traité to this structure as a scale, and in the Histoire, one finds that he deals with the scale structures of oth ...
Keyboard Command Summary
... l insert/go to lower voice in measure m delete current voice (in meas. with two voices) ...
... l insert/go to lower voice in measure m delete current voice (in meas. with two voices) ...
The Devolution of the Shepherd Trumpet and Its Seminal
... between a-natural'' and b-flat''.7 Arrows point in the direction that the natural-scale note sounds in comparison to the closest pitch in equal temperament. Due to this difference between the two scales, there has been a great deal of confusion when attempting to represent the harmonic series using s ...
... between a-natural'' and b-flat''.7 Arrows point in the direction that the natural-scale note sounds in comparison to the closest pitch in equal temperament. Due to this difference between the two scales, there has been a great deal of confusion when attempting to represent the harmonic series using s ...
Chapter 3 Piccola musica notturna (1954)
... mm.4-5 where they form tonal sonorities. Even taking into account the octatonic flavoring of the C triad in m.6, the unresolved Ab in mm.7 and 9, and the (from a tonal point of view) arbitrary voice leading in m.12, mm.1-14 demonstrate a remarkable tonal cogency for a serially organized work. The pr ...
... mm.4-5 where they form tonal sonorities. Even taking into account the octatonic flavoring of the C triad in m.6, the unresolved Ab in mm.7 and 9, and the (from a tonal point of view) arbitrary voice leading in m.12, mm.1-14 demonstrate a remarkable tonal cogency for a serially organized work. The pr ...
View printable PDF of 1.Appendix.1 Solfège
... Solfège is a system for sight-singing music that applies standard syllables to the notes. Singing with solfège syllables makes it easier to hear and remember the sound of intervals. The following syllables are common to most solfège systems in English-speaking countries: ...
... Solfège is a system for sight-singing music that applies standard syllables to the notes. Singing with solfège syllables makes it easier to hear and remember the sound of intervals. The following syllables are common to most solfège systems in English-speaking countries: ...
Bach, Rach, Chop, Mozart, Beethoven…and…Byrd?
... Of all the English composers, William Byrd is possibly the most prolific writer of his time. His output in a variety of genres is unparalleled, and his music receives critical acclaim. William Byrd has a plethora of keyboard contributions which accumulated over the course of a highly successful care ...
... Of all the English composers, William Byrd is possibly the most prolific writer of his time. His output in a variety of genres is unparalleled, and his music receives critical acclaim. William Byrd has a plethora of keyboard contributions which accumulated over the course of a highly successful care ...
4/4 TIME - Introduction to Music Theory
... If the note to be dotted is on a space, the dot also goes on the space, while if the note is on a line, the dot goes on the space above (this also goes for notes on ledger lines). The dots on dotted notes, which are located to the right of the note, are not to be confused with the dots which indicat ...
... If the note to be dotted is on a space, the dot also goes on the space, while if the note is on a line, the dot goes on the space above (this also goes for notes on ledger lines). The dots on dotted notes, which are located to the right of the note, are not to be confused with the dots which indicat ...
The early development of music. Analysis of the Jiahu bone flutes
... Jiahu music of this period. The increase of conjunct intervals means that this instrument could have played more varied and colourful melodies than the five-holed flute discussed above. From the instrumental sounds that the flutes produce, we can infer a cognitive system of Jiahu musical culture. Ev ...
... Jiahu music of this period. The increase of conjunct intervals means that this instrument could have played more varied and colourful melodies than the five-holed flute discussed above. From the instrumental sounds that the flutes produce, we can infer a cognitive system of Jiahu musical culture. Ev ...
Traditional sub-Saharan African harmony
![](https://commons.wikimedia.org/wiki/Special:FilePath/A_pentatonic_scale_in_descending_order.jpg?width=300)
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).