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 ...
Before You Read Sheet Music - Jess Bradshaw`s ePortfolio
... Tenor clef is used much like alto clef. It is positioned on the fourth line of the staff, where the humps of the “B” meet to acknowledge where middle C is. Tenor clef is used by many lower range instruments when they play higher pitched music, such as cello, double bass, tuba, baritone (euphonium), ...
... Tenor clef is used much like alto clef. It is positioned on the fourth line of the staff, where the humps of the “B” meet to acknowledge where middle C is. Tenor clef is used by many lower range instruments when they play higher pitched music, such as cello, double bass, tuba, baritone (euphonium), ...
Adding New Pitches
... There also are many composers who, although they may be unconcerned with pure tuning, nonetheless use the added pitches in an incidental fashion, either as mere ornaments to the twelve traditional pitches, or in clusters designed actually to reduce the function of individual tones, in the manner of ...
... There also are many composers who, although they may be unconcerned with pure tuning, nonetheless use the added pitches in an incidental fashion, either as mere ornaments to the twelve traditional pitches, or in clusters designed actually to reduce the function of individual tones, in the manner of ...
Charles University in Prague Pedagogical Faculty DIPLOMA THESIS
... time i was writing the thesis, i had two things in mind. The first, that jazz was a completely different thing from classical music, and second that classical music was not seriously affected, or let's say influenced by jazz. I was amazed to find out that a lot of basic elements are the same and app ...
... time i was writing the thesis, i had two things in mind. The first, that jazz was a completely different thing from classical music, and second that classical music was not seriously affected, or let's say influenced by jazz. I was amazed to find out that a lot of basic elements are the same and app ...
Mathemusical Thought - LUC Sakai
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
... length 5 half steps, as per Table 2.1. Thus this is an augmented fourth, also called a tritone. (b) IntervalName=“fifth”. IntervalLength=6= 7 -1. A perfect fifth is of length 7 half steps. Thus this is a diminished fifth, likewise called a tritone. (c) IntervalName=“third”. IntervalLenth=3. A third ...
Program Notes - University of Chicago Presents
... Passingmeasures Galliard, and no other duet surpasses it in style or imagination. Like Johnson’s most virtuosic duets, this set of variations uses the complete range of the lute, which, in this case, is three and a half octaves! Unlike Johnson’s variations, which are primarily stepwise and melodic, ...
... Passingmeasures Galliard, and no other duet surpasses it in style or imagination. Like Johnson’s most virtuosic duets, this set of variations uses the complete range of the lute, which, in this case, is three and a half octaves! Unlike Johnson’s variations, which are primarily stepwise and melodic, ...
Music Theory Combination Tones
... I did this work at the piano) Secondly, using cycles per second values corresponding to equal tempered pitches, first , second, and third order combination tones were listed in spreadsheet form, and also transferred to musical notation. This in itself is of some interest, as it present a kind of fac ...
... I did this work at the piano) Secondly, using cycles per second values corresponding to equal tempered pitches, first , second, and third order combination tones were listed in spreadsheet form, and also transferred to musical notation. This in itself is of some interest, as it present a kind of fac ...
Royal Conservatory of Music Violin Technique, Level 5
... Authentic, plagal and half cadences, deceptive cadence Secondary triads With inversions ...
... Authentic, plagal and half cadences, deceptive cadence Secondary triads With inversions ...
NOTE - Big Lake Schools
... • Lower-pitched notes are written LOWER on the staff. o Higher-pitched notes are written HIGHER. • Sometimes notes are so high or so low they need to be written with LEDGER lines. • Ledger lines are small lines that allow the staff to be EXTENDED . o How many ledger lines can be used? ! AS MANY AS N ...
... • Lower-pitched notes are written LOWER on the staff. o Higher-pitched notes are written HIGHER. • Sometimes notes are so high or so low they need to be written with LEDGER lines. • Ledger lines are small lines that allow the staff to be EXTENDED . o How many ledger lines can be used? ! AS MANY AS N ...
"A History of Pianoforte Pedaling." By David Rowland
... ... [original edition], Air with Variations in E-flat major, Var. 7 (p. 91, mm. 17-20); three slurred octaves separated by fourths in an unpublished autograph revision of Sonata Op. 13/4/ii, m. 12). But Clementi's pedalings were very seldom necessary for a linear legato, which his careful slurring a ...
... ... [original edition], Air with Variations in E-flat major, Var. 7 (p. 91, mm. 17-20); three slurred octaves separated by fourths in an unpublished autograph revision of Sonata Op. 13/4/ii, m. 12). But Clementi's pedalings were very seldom necessary for a linear legato, which his careful slurring a ...
A technical look at swing rhythm in music
... different instruments playing swing differently from each other, locking together at certain canonical time locations representing standard counting and subdivision of the musical meter. This latter phenomenon has been previously investigated as ensemble swing. The time locking, while precise, may n ...
... different instruments playing swing differently from each other, locking together at certain canonical time locations representing standard counting and subdivision of the musical meter. This latter phenomenon has been previously investigated as ensemble swing. The time locking, while precise, may n ...
Ephraim Amu
... this era are contrapuntal in texture, a technique, he explains, that more adequately enables the component voice parts to sing melodies that are based on the tone-tune relationship. ...
... this era are contrapuntal in texture, a technique, he explains, that more adequately enables the component voice parts to sing melodies that are based on the tone-tune relationship. ...
Dynamics and expressive techniques
... dynamics. Instead of simply using forte and piano as levels, they introduced subtler gradations, as in becoming gradually louder or softer. The Italian term crescendo means ‘gradually getting louder’. There are two terms for ‘gradually getting softer’ — decrescendo and diminuendo — and either may be ...
... dynamics. Instead of simply using forte and piano as levels, they introduced subtler gradations, as in becoming gradually louder or softer. The Italian term crescendo means ‘gradually getting louder’. There are two terms for ‘gradually getting softer’ — decrescendo and diminuendo — and either may be ...
Spectral analysis of different harmonies Implemented by Equal
... equal tempered tuning. Although the Just tuned major and minor triads have significantly clearer frequency ratio relationships than the Equal tempered major and minor triads, many newly arisen integer related harmonies (yellow boxes and red-colored numbers) exist in Equal tempered tuning system in w ...
... equal tempered tuning. Although the Just tuned major and minor triads have significantly clearer frequency ratio relationships than the Equal tempered major and minor triads, many newly arisen integer related harmonies (yellow boxes and red-colored numbers) exist in Equal tempered tuning system in w ...
File
... Son Abajeño: A son from "abajo", or below, generally referring to the Tierra Caliente region just below Jalisco. The meter and form are similar to that of the son Jalisciense. Son Huasteco: A 6/8 with sesquialtera (hemiola) rhythmic pattern; traditionally, the son huasteco came from the Huasteca reg ...
... Son Abajeño: A son from "abajo", or below, generally referring to the Tierra Caliente region just below Jalisco. The meter and form are similar to that of the son Jalisciense. Son Huasteco: A 6/8 with sesquialtera (hemiola) rhythmic pattern; traditionally, the son huasteco came from the Huasteca reg ...
Quia Tier 4 powerpoint from class
... What solfege syllable is a third above DO? What solfege syllable is a fourth above DO? ...
... What solfege syllable is a third above DO? What solfege syllable is a fourth above DO? ...
Signal Processing for Melody Transcription
... pitch as a thick horizontal line on a musical staff to show users the notes they are producing. No attempt is made to identify the boundary between one note and the next: the only way to create a musical score is for users to tap the computer’s keyboard at the beginning of each note. There are at le ...
... pitch as a thick horizontal line on a musical staff to show users the notes they are producing. No attempt is made to identify the boundary between one note and the next: the only way to create a musical score is for users to tap the computer’s keyboard at the beginning of each note. There are at le ...
MU2201 : Analysing Western Art Music
... structure”) combines an upper-voice Urlinie (“fundamental line”) and a bass Bassbrechung (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the ...
... structure”) combines an upper-voice Urlinie (“fundamental line”) and a bass Bassbrechung (“bass arpeggiation”, I-V-I, regarded both harmonically, as chords on tonic and dominant, and melodically, as an arpeggiation of the tonic triad). It can take three main forms, all with stepwise descents in the ...
Interval Scale as Group Generators - Base des articles scientifiques
... vide.” The numbers denote intervals between consecutive notes in unit of semitone. [4] descending perfect fifths, respectively, but also the neighboring intervals 6 and 8 are used in this fragment. This enables the melodies to deviate a little from the movement of fifths and provide variety to the m ...
... vide.” The numbers denote intervals between consecutive notes in unit of semitone. [4] descending perfect fifths, respectively, but also the neighboring intervals 6 and 8 are used in this fragment. This enables the melodies to deviate a little from the movement of fifths and provide variety to the m ...
Expanded tonality - Scholar Commons
... In this article, Witten discusses Chopin’s use the toggle switch. This term is most frequently derived from progressions of third related chords, such as moving from the submediant triad to the tonic triad. An example that he uses to describe this technique is, “The distance between the roots of F m ...
... In this article, Witten discusses Chopin’s use the toggle switch. This term is most frequently derived from progressions of third related chords, such as moving from the submediant triad to the tonic triad. An example that he uses to describe this technique is, “The distance between the roots of F m ...
Estimating Resemblance of MIDI Documents
... domain of consideration is classical MIDI les on the web, and such variations are generally uncommon; that is, one does not nd renditions of Beethoven's \Moonlight Sonata" transposed to any key but its original C# minor. However one could imagine other domains where such considerations would be im ...
... domain of consideration is classical MIDI les on the web, and such variations are generally uncommon; that is, one does not nd renditions of Beethoven's \Moonlight Sonata" transposed to any key but its original C# minor. However one could imagine other domains where such considerations would be im ...
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).