Alois Hába`s Suite für vier Posaunen
... Hába characterizes the quarter-tone gamut as separated into two fields, one half comprising the twelve conventional pitches, and the other half, the twelve quarter-tone pitches. In the Suite, passages occur in which chords composed purely of conventional pitches alternate with chords composed purely ...
... Hába characterizes the quarter-tone gamut as separated into two fields, one half comprising the twelve conventional pitches, and the other half, the twelve quarter-tone pitches. In the Suite, passages occur in which chords composed purely of conventional pitches alternate with chords composed purely ...
Semantic manual - Semantic Daniélou
... Summed up here are some of this system's characteristics, as well as some basic microtonal notions : Just intonation is altogether the science and the art of consonances. Instead of tempered intervals, it uses a diversity of consonant intervals, the frequency ratios of which can be expressed in the ...
... Summed up here are some of this system's characteristics, as well as some basic microtonal notions : Just intonation is altogether the science and the art of consonances. Instead of tempered intervals, it uses a diversity of consonant intervals, the frequency ratios of which can be expressed in the ...
Stravinsky and the Octatonic: The Sounds of
... music is animated by a broad range of polyscalar superimpositions involving more than just the octatonic and diatonic scales. I further suggested that scales in Stravinsky are sometimes surface phenomena, produced by underlying superimpositions that do not conform to any single collection. Here I pr ...
... music is animated by a broad range of polyscalar superimpositions involving more than just the octatonic and diatonic scales. I further suggested that scales in Stravinsky are sometimes surface phenomena, produced by underlying superimpositions that do not conform to any single collection. Here I pr ...
to read it in Microsoft Word
... Pre-determine the available notes for improvising over a given chord and chord sequence so that I could focus more on other musical aspects such as motivic development, phrasing, rhythm, dynamics, technique, and interaction with other players. ...
... Pre-determine the available notes for improvising over a given chord and chord sequence so that I could focus more on other musical aspects such as motivic development, phrasing, rhythm, dynamics, technique, and interaction with other players. ...
Expanded Tonality in Quartal Space: Back to Debussy`s
... les Quartes as an every-level structuring cell, this article proposes a harmonic analysis where all chords are drawn from a twelve-tone quartal space. The hypothesis is that Debussy tests the capacity of the quartal matrix to supersede conventional triadic harmony. On another hand, because of this n ...
... les Quartes as an every-level structuring cell, this article proposes a harmonic analysis where all chords are drawn from a twelve-tone quartal space. The hypothesis is that Debussy tests the capacity of the quartal matrix to supersede conventional triadic harmony. On another hand, because of this n ...
Stravinsky and the Octatonic: A Reconsideration
... bids farewell to such explicit whole-tone sonorities. However, as Example 3 shows, the whole-tone scale does appear prominently —albeit in combination with other material—at the end of both parts of the ballet.5 As in Petrouchka, Stravinsky’s relationship to Debussy is ambiguous: on the one hand, th ...
... bids farewell to such explicit whole-tone sonorities. However, as Example 3 shows, the whole-tone scale does appear prominently —albeit in combination with other material—at the end of both parts of the ballet.5 As in Petrouchka, Stravinsky’s relationship to Debussy is ambiguous: on the one hand, th ...
Musical Concepts
... Unconventional sound sources At the beginning of the twentieth century, composers experimented with all sorts of sounds and broke most of the conventional rules for making music. For example, John Cage’s piano piece ‘4'33"’ is made up entirely of musical rests, therefore silences. The factors that c ...
... Unconventional sound sources At the beginning of the twentieth century, composers experimented with all sorts of sounds and broke most of the conventional rules for making music. For example, John Cage’s piano piece ‘4'33"’ is made up entirely of musical rests, therefore silences. The factors that c ...
Tonal Function in Harmonic Scales
... they cannot be improved by alteration and they are inherently well-related. Therefore, all non-prototypical triad progressions (with the exception of the ‘difficult’ eighth progression c ↔ D, or iii ↔ IV) are heard as alterations of these seven prototypes.11 Normalisation of alterations All interva ...
... they cannot be improved by alteration and they are inherently well-related. Therefore, all non-prototypical triad progressions (with the exception of the ‘difficult’ eighth progression c ↔ D, or iii ↔ IV) are heard as alterations of these seven prototypes.11 Normalisation of alterations All interva ...
Finding Alternative Musical Scales
... among these scales. Pierce [17] also experimented with a scale that divides the octave into 8 equal intervals, but we will find this scale to be unappealing due to the lack of simple pitch ratios. A number of composers have written music that uses the quarter-tone scale, in which the octave is divid ...
... among these scales. Pierce [17] also experimented with a scale that divides the octave into 8 equal intervals, but we will find this scale to be unappealing due to the lack of simple pitch ratios. A number of composers have written music that uses the quarter-tone scale, in which the octave is divid ...
General Principles of Harmony by Alan Belkin
... especially useful in understanding many harmonic situations. In particular, the notions that not all chords are of equal structural importance, and that harmonic meaning changes according to linear context, are critical insights. While the Schenkerian approach was originally intended for tonal music ...
... especially useful in understanding many harmonic situations. In particular, the notions that not all chords are of equal structural importance, and that harmonic meaning changes according to linear context, are critical insights. While the Schenkerian approach was originally intended for tonal music ...
Estimating Resemblance of MIDI Documents
... Grouping by pitch into 128 sequences is not the only possibility. For example, another possibility is to ignore the octave of each pitch entirely; all C pitches would be considered identical and all C note events would be grouped, altogether producing 12 sequences. Doing so potentially creates the s ...
... Grouping by pitch into 128 sequences is not the only possibility. For example, another possibility is to ignore the octave of each pitch entirely; all C pitches would be considered identical and all C note events would be grouped, altogether producing 12 sequences. Doing so potentially creates the s ...
Expanded tonality - Scholar Commons
... which the root of the chord assumes a secondary function to that of the chord member. The role of the dominant is increased from a secondary role to one that is often comparable to that of the tonic. A compositional technique that contributes to this prominence is the placement of the dominant pitch ...
... which the root of the chord assumes a secondary function to that of the chord member. The role of the dominant is increased from a secondary role to one that is often comparable to that of the tonic. A compositional technique that contributes to this prominence is the placement of the dominant pitch ...
Scales in Music
... As noted earlier, the use of the word ‘scale’ in measurement theory is closely related to its use in music; in particular, this use of ‘scale’ derives from the Latin word sc³lae [ladder]. In this section we examine musical scales from the viewpoint of measurement theory (and of course music theory) ...
... As noted earlier, the use of the word ‘scale’ in measurement theory is closely related to its use in music; in particular, this use of ‘scale’ derives from the Latin word sc³lae [ladder]. In this section we examine musical scales from the viewpoint of measurement theory (and of course music theory) ...
Lesson_CCC_-_The_Min..
... V chord has a stronger pull back to tonic? With the addition of a leading tone, Example 7 gives a much stronger sense of resolution. The same would be true of a progression using VII instead of vii°. By borrowing the leading tone from the major scale, we have the same V and vii° triads in minor as w ...
... V chord has a stronger pull back to tonic? With the addition of a leading tone, Example 7 gives a much stronger sense of resolution. The same would be true of a progression using VII instead of vii°. By borrowing the leading tone from the major scale, we have the same V and vii° triads in minor as w ...
rudiments of music
... 41. Scales may start from any note, but the use of sharps Dr fiats will be necessary in all Scales except C major, so. as to. obtain the correct order of Tones and Semitones. Majo.r and Mino.r Scales are called Diatonic because each successive note is different in name. The Chromatic Scale is so. ca ...
... 41. Scales may start from any note, but the use of sharps Dr fiats will be necessary in all Scales except C major, so. as to. obtain the correct order of Tones and Semitones. Majo.r and Mino.r Scales are called Diatonic because each successive note is different in name. The Chromatic Scale is so. ca ...
Lewin, David “A Formal Theory of Generalized Tonal Functions”
... concepts to describe the transformations possible. A “Dominant” operation takes you a fifth higher, a “Subdominant”-operation takes you a fifth lower. In 1995 Hyer suggests the use Riemann concepts for third moves as well. A “Relative”-operation then takes you a minor third down from a major chord a ...
... concepts to describe the transformations possible. A “Dominant” operation takes you a fifth higher, a “Subdominant”-operation takes you a fifth lower. In 1995 Hyer suggests the use Riemann concepts for third moves as well. A “Relative”-operation then takes you a minor third down from a major chord a ...
Tuning, Tonality, and 22
... many of the same properties.14 Had he taken the diatonic scale from 19- or 31-equal, systems that musicians actually considered before 12-equal won out, he would not have found many of his properties. Likewise, Clough and Douthett’s maximal evenness property15 fails if the diatonic scale is taken fr ...
... many of the same properties.14 Had he taken the diatonic scale from 19- or 31-equal, systems that musicians actually considered before 12-equal won out, he would not have found many of his properties. Likewise, Clough and Douthett’s maximal evenness property15 fails if the diatonic scale is taken fr ...
Chapter 1: Introduction to Pairwise Well-Formed Scales
... In this case the whole-tone motion consistently involves a leap over a stationary pitch class. Both of these examples of Q*-relations have their own interest, and the former will be put in play in an analytical example in Chapter 6. Another formal point that must be taken up in establishing the prop ...
... In this case the whole-tone motion consistently involves a leap over a stationary pitch class. Both of these examples of Q*-relations have their own interest, and the former will be put in play in an analytical example in Chapter 6. Another formal point that must be taken up in establishing the prop ...
the division of the monochord according
... Thus, there are three classes of those who are engaged in the musical art. The first class consists of those who perform on instruments, the second of those who compose songs, and the third of those who judge instrumental performance and song. But those of the class which is dependent upon instrume ...
... Thus, there are three classes of those who are engaged in the musical art. The first class consists of those who perform on instruments, the second of those who compose songs, and the third of those who judge instrumental performance and song. But those of the class which is dependent upon instrume ...
RATIOS AND MUSICAL INTERVALS We like to think of an interval
... solve for x in the equation r = 2x/1200 . This requires taking a logarithm, a topic which will be reviewed and developed in the next section. The following observation provides additional motivation for evoking logarithms. If we plot pitches on an axis according to their frequency, we see that music ...
... solve for x in the equation r = 2x/1200 . This requires taking a logarithm, a topic which will be reviewed and developed in the next section. The following observation provides additional motivation for evoking logarithms. If we plot pitches on an axis according to their frequency, we see that music ...
1. Historical definitions.
... chord progressions built on a basse fondamentale, for which the expression ‘harmony’ was used in an attempt to distinguish it from ‘counterpoint’. This constitutes a linguistic confusion and produces a blurring of the distinction between constructional technique and harmony, in the narrower sense of ...
... chord progressions built on a basse fondamentale, for which the expression ‘harmony’ was used in an attempt to distinguish it from ‘counterpoint’. This constitutes a linguistic confusion and produces a blurring of the distinction between constructional technique and harmony, in the narrower sense of ...
Cross-cultural hybridity in music composition
... mode exclusively (in cipher notation, the pitches 1, 2, 3, 5 and 6), while others may use all seven pitches. Within the pentatonic mode, one pitch is central although it need not be pitch 1. In pieces which use six or seven note-modes, pitches 4 and 7 are often used only ornamentally, or are seconda ...
... mode exclusively (in cipher notation, the pitches 1, 2, 3, 5 and 6), while others may use all seven pitches. Within the pentatonic mode, one pitch is central although it need not be pitch 1. In pieces which use six or seven note-modes, pitches 4 and 7 are often used only ornamentally, or are seconda ...
PDF
... making electronic music either. During this period, Cage invited him back to study with him in a more formal composition lesson once a month. Here Cage would critique his pieces, and they would also work on serial techniques, which Johnston was experimenting with at the time; in this regard, Cage wo ...
... making electronic music either. During this period, Cage invited him back to study with him in a more formal composition lesson once a month. Here Cage would critique his pieces, and they would also work on serial techniques, which Johnston was experimenting with at the time; in this regard, Cage wo ...
serialvolhdgexercise.. - Yale University Library
... fields following standard punctuation usage. ...
... fields following standard punctuation usage. ...