How to Construct Modes
... Modes can be derived from a major scale. The true application of a mode is one in which the notes and harmony are derived primarily from a mode. Modal scales are used, however, over the chord of the moment in a non-modal tune, although it would not be a modal melody in the strictest definition. Ther ...
... Modes can be derived from a major scale. The true application of a mode is one in which the notes and harmony are derived primarily from a mode. Modal scales are used, however, over the chord of the moment in a non-modal tune, although it would not be a modal melody in the strictest definition. Ther ...
A2 2, Part 2: Written Examination (MS)
... chord scored for four electric organs and a pair of maracas • Reich makes use of chordal augmentation in Music for 18 Musicians (1976) which uses human breath as a measure of duration, in which the voices and winds use the length of their breath as a guide, and sing/play pulses on assigned pitche ...
... chord scored for four electric organs and a pair of maracas • Reich makes use of chordal augmentation in Music for 18 Musicians (1976) which uses human breath as a measure of duration, in which the voices and winds use the length of their breath as a guide, and sing/play pulses on assigned pitche ...
8th Grade Planned Course Guide - Penn
... Demonstrate appropriate diction, dynamics, and articulation within concert repertoire. Perform music with rhythms that contain whole, half, quarter, and eighth, and sixteenth notes in 4/4, 3/4, 2/4, 2/2, and 6/8, as well as complex meters. 7. Perform music in foreign languages. 8. Perform music in m ...
... Demonstrate appropriate diction, dynamics, and articulation within concert repertoire. Perform music with rhythms that contain whole, half, quarter, and eighth, and sixteenth notes in 4/4, 3/4, 2/4, 2/2, and 6/8, as well as complex meters. 7. Perform music in foreign languages. 8. Perform music in m ...
Minor Pentatonic scale In music, notes are sometimes arranged into
... In the scale shown above the lowest sounding note of the scale is the note at the start (6th string, 3rd fret) which is a G note, this means that the scale is ‘in the key of G minor’ or a ‘G minor pentatonic scale’ – This instruction tells you that the pattern of notes is a ‘minor pentatonic’ patter ...
... In the scale shown above the lowest sounding note of the scale is the note at the start (6th string, 3rd fret) which is a G note, this means that the scale is ‘in the key of G minor’ or a ‘G minor pentatonic scale’ – This instruction tells you that the pattern of notes is a ‘minor pentatonic’ patter ...
The Compositional Style of William O. Smith A Research Project
... William O. Smith’s Five Pieces for Clarinet Alone is probably his most frequently performed work for clarinet, because it does not require the performer to learn any extended techniques. Written in 1959, the work demonstrates an emphasis on the ...
... William O. Smith’s Five Pieces for Clarinet Alone is probably his most frequently performed work for clarinet, because it does not require the performer to learn any extended techniques. Written in 1959, the work demonstrates an emphasis on the ...
Elements of Music
... c. When the structure of a melody changes, the harmonic structure changes accordingly. d. A given melody may be harmonized in several ways. 4. Melodies having the same harmonic structure may be combined. a. When the nature of a melody is such that it can be performed in two or more parts starting at ...
... c. When the structure of a melody changes, the harmonic structure changes accordingly. d. A given melody may be harmonized in several ways. 4. Melodies having the same harmonic structure may be combined. a. When the nature of a melody is such that it can be performed in two or more parts starting at ...
The Motive - AState.edu
... relationship between the two bracketed ideas is not clear. The lack of relationship between these two ideas creates a sense of variety. ...
... relationship between the two bracketed ideas is not clear. The lack of relationship between these two ideas creates a sense of variety. ...
Intervals Perfect Intervals
... Intervals An Interval is the distance between two notes. In level one we learned to name intervals by number: ...
... Intervals An Interval is the distance between two notes. In level one we learned to name intervals by number: ...
Computational Models of the Pitch-Rhythm Correspondence
... “The idea of Form is not adequately conceived as something ‘spatial,’ something that can be dissociated from the ways in which our impressions build and change during the passage of time for a listener or a performer. The matter can be studied effectively in connection with intensions and perception ...
... “The idea of Form is not adequately conceived as something ‘spatial,’ something that can be dissociated from the ways in which our impressions build and change during the passage of time for a listener or a performer. The matter can be studied effectively in connection with intensions and perception ...
MTO 4.2: Alpern, Review Article, “Will the Real Anton Webern
... primarily from a horizontal and melodic perspective rather than a vertical or harmonic one. [15] Other crucial aspects of the sketches support Shreffler’s revised conception of a lyrical Webern as well. Instead of deliberating intensely over each painstaking note as one might imagine, he actually se ...
... primarily from a horizontal and melodic perspective rather than a vertical or harmonic one. [15] Other crucial aspects of the sketches support Shreffler’s revised conception of a lyrical Webern as well. Instead of deliberating intensely over each painstaking note as one might imagine, he actually se ...
The Framework of Music Theory as Represented with Groups
... Music theory is a tool and framework with which we explain our listening experience. However, both the tool and the term “listening experience” are loosely defined. They are dependent on the music. During the mid-15th century, composers began constructing their pieces around a particular pitch, call ...
... Music theory is a tool and framework with which we explain our listening experience. However, both the tool and the term “listening experience” are loosely defined. They are dependent on the music. During the mid-15th century, composers began constructing their pieces around a particular pitch, call ...
Cyclical Structures and the Organisation of Time Bryn Harrison
... and how this aesthetic concern has led to a largely non-goal orientated approach to form and structure. In order to do so and by using specific examples from selected pieces, I will examine the main aspects of my musical language and discuss how these techniques have evolved and changed over a five ...
... and how this aesthetic concern has led to a largely non-goal orientated approach to form and structure. In order to do so and by using specific examples from selected pieces, I will examine the main aspects of my musical language and discuss how these techniques have evolved and changed over a five ...
rhythm / duration / metre
... b) Play triplet quavers Play using backward and forward extensions in a piece b) Use 4th position (eg. G maj. 2 octave scale) a) Read and understand multimeasure rests b) Understand how articulation affects the character of a piece c) Compose a question and answer phrase in a major key a) Vary the s ...
... b) Play triplet quavers Play using backward and forward extensions in a piece b) Use 4th position (eg. G maj. 2 octave scale) a) Read and understand multimeasure rests b) Understand how articulation affects the character of a piece c) Compose a question and answer phrase in a major key a) Vary the s ...
Boland _1
... her musical style.3 Ruth Crawford, Beyer’s teacher and friend (and as far as we know the only other woman actively composing in the New York experimental scene at that time), had to contend with similar attitudes, particularly from men hostile to women’s involvement in modern music.4 Yet, Beyer is r ...
... her musical style.3 Ruth Crawford, Beyer’s teacher and friend (and as far as we know the only other woman actively composing in the New York experimental scene at that time), had to contend with similar attitudes, particularly from men hostile to women’s involvement in modern music.4 Yet, Beyer is r ...
Dictionary of Musical Terms
... Meter - The structure of notes in a regular pattern of accented and unaccented beats within a measure, indicated at the beginning of a composition by a meter signature. Meter signature - The numbers placed at the beginning of a composition to indicate the meter of . The upper number indicates the be ...
... Meter - The structure of notes in a regular pattern of accented and unaccented beats within a measure, indicated at the beginning of a composition by a meter signature. Meter signature - The numbers placed at the beginning of a composition to indicate the meter of . The upper number indicates the be ...
Establishing the Elements of Music Groundwork
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
Establishing the Elements of Music Groundwork
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
... By looking at the keyboard, we see that a half step interval is the distance between one key and the key immediately next to it. A whole step interval is equal to two half steps. Therefore, one must move two keys up or down in order to have a whole step. The most common types of intervals, for the p ...
PITCH RECOGNITION
... There are several existing methods for monophonic pitch recognition and these have had some success. Polyphonic pitch recognition has proven significantly more difficult. This is partially because the combined of frequency spectrum of various notes, is more difficult to analyze, and is especially s ...
... There are several existing methods for monophonic pitch recognition and these have had some success. Polyphonic pitch recognition has proven significantly more difficult. This is partially because the combined of frequency spectrum of various notes, is more difficult to analyze, and is especially s ...
Music Synthesis for Home Videos: An Analogy Based Approach
... increase of dynamics stirs up excitement that is usually accompanied by increase in pitch. The gradual decrease in dynamics suggests calmness of mood. Rhythm: It refers to how the music ebbs and flows against the passage of time. It is expressed by beats, meter, accent and tempo of music. The note l ...
... increase of dynamics stirs up excitement that is usually accompanied by increase in pitch. The gradual decrease in dynamics suggests calmness of mood. Rhythm: It refers to how the music ebbs and flows against the passage of time. It is expressed by beats, meter, accent and tempo of music. The note l ...
Qualia as intervening variables in the understanding of music cognition
... often for melodies make use of just 7 of those 12 pitch classes (“do–re– mi–fa–sol–la–ti”). The other 5 pitch classes are excluded from that scale, and from the key (the tonality) it represents. That contrast between the 7 pitches in a key and the 5 pitches outside the key is a very strong one, and ...
... often for melodies make use of just 7 of those 12 pitch classes (“do–re– mi–fa–sol–la–ti”). The other 5 pitch classes are excluded from that scale, and from the key (the tonality) it represents. That contrast between the 7 pitches in a key and the 5 pitches outside the key is a very strong one, and ...
Glossary Commonly Used Musical Terms and
... relative pitch - "Do" can be any pitch, and then all the other pitches are determined in relation t o t h a t "Do". repeat sign rhythm ...
... relative pitch - "Do" can be any pitch, and then all the other pitches are determined in relation t o t h a t "Do". repeat sign rhythm ...
File - Oak Bay Band
... Where you see the stars, between the 6th and 7th pitch, the interval is larger than a whole tone. The interval is a minor 3rd, which you’ll learn about in a future theory package. Activity 1) Visit www.oakbayband.com and download the Scale Writing Activity. To check your work, ask a friend or attend ...
... Where you see the stars, between the 6th and 7th pitch, the interval is larger than a whole tone. The interval is a minor 3rd, which you’ll learn about in a future theory package. Activity 1) Visit www.oakbayband.com and download the Scale Writing Activity. To check your work, ask a friend or attend ...
Mantroch – A Future Orchestral Voice For Pipers
... as required (eight, four and two times) to have each line sounding to the end of the tenor. Variations are the ground in its initial duration and thus there are 8 variations available for each piece. It therefore follows that there are eight major cadencing points in the event matrix with smaller ca ...
... as required (eight, four and two times) to have each line sounding to the end of the tenor. Variations are the ground in its initial duration and thus there are 8 variations available for each piece. It therefore follows that there are eight major cadencing points in the event matrix with smaller ca ...
Minor Scales
... lower it. These last two can apply to any scale degree, but least commonly with the perfect intervals. ...
... lower it. These last two can apply to any scale degree, but least commonly with the perfect intervals. ...