Transposing Chord Symbols
... major thirteenth is added to the eleventh chords given above if, to relieve the texture, the eleventh is missing the chord remains a 13th; if, however, the eleventh is present but altered, this must be shown in the name of the chord Here are a number of other chords that feature in modern popular mu ...
... major thirteenth is added to the eleventh chords given above if, to relieve the texture, the eleventh is missing the chord remains a 13th; if, however, the eleventh is present but altered, this must be shown in the name of the chord Here are a number of other chords that feature in modern popular mu ...
Movement I (Largo) – overall comment
... violin 1 and viola, before the opening section concludes with a chorale-like cadential figure (bar 233). THEMES: The music begins with a self quotation – the DSCH motif (2317). [See general background notes] At bar 11, note the DSCH motif on both violins and cello in octaves against an inner dominan ...
... violin 1 and viola, before the opening section concludes with a chorale-like cadential figure (bar 233). THEMES: The music begins with a self quotation – the DSCH motif (2317). [See general background notes] At bar 11, note the DSCH motif on both violins and cello in octaves against an inner dominan ...
eVirtuoso-Online Lessons Chords Lesson 3
... Chord Progressions are very popular and a strong foundation for many instruments and songs. Any chords combined together in an intro, verse, chorus, bridge, etc. becomes a chord progression. This movement builds a foundation for a song’s harmony and sometimes rhythm too. Some chord progressions deri ...
... Chord Progressions are very popular and a strong foundation for many instruments and songs. Any chords combined together in an intro, verse, chorus, bridge, etc. becomes a chord progression. This movement builds a foundation for a song’s harmony and sometimes rhythm too. Some chord progressions deri ...
Area of Study 4
... The drone is a replacement for a real sense of harmony like Western Music. The notes are usually the Tonic and Dominant (I – V) of a chosen Rag. It keeps a sense of tuning/ intonation as a reference point for the melodic parts. ...
... The drone is a replacement for a real sense of harmony like Western Music. The notes are usually the Tonic and Dominant (I – V) of a chosen Rag. It keeps a sense of tuning/ intonation as a reference point for the melodic parts. ...
This Worldes Joie Part 1 analysis
... backdrop of quivering tremolo strings (with piano), the tenor soloist sings three phrases that increase in intensity and overall pitch content (6+6+8 bars). The rising, sequential major and minor 3rds that form the basis of these recitative-like phrases (especially bars 121-8 and 12936) hint at the ...
... backdrop of quivering tremolo strings (with piano), the tenor soloist sings three phrases that increase in intensity and overall pitch content (6+6+8 bars). The rising, sequential major and minor 3rds that form the basis of these recitative-like phrases (especially bars 121-8 and 12936) hint at the ...
urn_nbn_fi_jyu-20
... character. Both concepts may pertain during the audition of a modal work, depending on the work's nature and origins. The 20th concept of mode perhaps originates in the use of folk music material, but it is in no way confined to it. Diatonic modality refers to the use of the seven diatonic modes tha ...
... character. Both concepts may pertain during the audition of a modal work, depending on the work's nature and origins. The 20th concept of mode perhaps originates in the use of folk music material, but it is in no way confined to it. Diatonic modality refers to the use of the seven diatonic modes tha ...
Contrapuntal Techniques in Schoenberg`s Fourth String
... when the chords are relating to the melody of m. 11 and the melody has already begun its third trichord, the Gma7 does not conflict with the Bsus4 above it. Chords are repeated often because there are five presentations of the row form per phrase. The effect is a non-rhythmic imitative counterpoint ...
... when the chords are relating to the melody of m. 11 and the melody has already begun its third trichord, the Gma7 does not conflict with the Bsus4 above it. Chords are repeated often because there are five presentations of the row form per phrase. The effect is a non-rhythmic imitative counterpoint ...
NCEA Level 2 Music (91277) 2013 Assessment Schedule
... pattern, with short motifs presented in various combinations. He tries to give the impression that the pieces flow without obvious structure, but when analysed the opposite is the case. A good example of this mosaic structure is “Voiles” (bars 48–64) where motifs are presented in several combination ...
... pattern, with short motifs presented in various combinations. He tries to give the impression that the pieces flow without obvious structure, but when analysed the opposite is the case. A good example of this mosaic structure is “Voiles” (bars 48–64) where motifs are presented in several combination ...
312KB - NZQA
... pattern, with short motifs presented in various combinations. He tries to give the impression that the pieces flow without obvious structure, but when analysed the opposite is the case. A good example of this mosaic structure is “Voiles” (bars 48–64) where motifs are presented in several combination ...
... pattern, with short motifs presented in various combinations. He tries to give the impression that the pieces flow without obvious structure, but when analysed the opposite is the case. A good example of this mosaic structure is “Voiles” (bars 48–64) where motifs are presented in several combination ...
ROMANTIC AND IMPRESSIONIST STYLE IN THE HARP
... thematic material, creating a sense of excessive length. In the third movement of the Six Noëls, the melody also features much more length than do typical Classical melodies, in keeping with Romantic tendencies. As in the first movement, no contrasting B melodic element appears, giving a sense of lo ...
... thematic material, creating a sense of excessive length. In the third movement of the Six Noëls, the melody also features much more length than do typical Classical melodies, in keeping with Romantic tendencies. As in the first movement, no contrasting B melodic element appears, giving a sense of lo ...
A level Guidance for Teaching
... by the piano, but it is not credible that the same scenario i.e. flute plus piano would be acceptable as a group piece for the flute. Finally – ensembles must not be conducted. ...
... by the piano, but it is not credible that the same scenario i.e. flute plus piano would be acceptable as a group piece for the flute. Finally – ensembles must not be conducted. ...
A level Guidance for Teaching
... by the piano, but it is not credible that the same scenario i.e. flute plus piano would be acceptable as a group piece for the flute. Finally – ensembles must not be conducted. ...
... by the piano, but it is not credible that the same scenario i.e. flute plus piano would be acceptable as a group piece for the flute. Finally – ensembles must not be conducted. ...
Chord Progressions
... prominence of call-and-response patterns in the music and lyrics are indicative of the blues' West African pedigree. The blues has been a major influence on later American and Western popular music, finding expression in ragtime, jazz, bluegrass, rhythm and blues, rock and roll, hip-hop, and country ...
... prominence of call-and-response patterns in the music and lyrics are indicative of the blues' West African pedigree. The blues has been a major influence on later American and Western popular music, finding expression in ragtime, jazz, bluegrass, rhythm and blues, rock and roll, hip-hop, and country ...
Medieval music - WordPress.com
... the extent of changing to another rhythmic mode. The next step forward concerning rhythm came from the German theorist Franco of Cologne . In his treatise Ars Cantus Mensurabilis ("The Art of Mensurable Music"), written around 1280, he describes a system of notation in which differently shaped notes ...
... the extent of changing to another rhythmic mode. The next step forward concerning rhythm came from the German theorist Franco of Cologne . In his treatise Ars Cantus Mensurabilis ("The Art of Mensurable Music"), written around 1280, he describes a system of notation in which differently shaped notes ...
The Syntax of Music
... – The first chord locally relaxes into the second. – The second chord locally tenses into the third. – The fourth chord is the point of maximum tension, and is the first event origina
... – The first chord locally relaxes into the second. – The second chord locally tenses into the third. – The fourth chord is the point of maximum tension, and is the first event origina
A Field Guide to Chromaticism
... called chromatically altered chords which aren't in any of the categories we have identified so far, and which are marked by the inclusion of at least one factor which is in neither the major nor any minor scales of one key. They are defined, in part, by genuinely chromatic intervals: the augmented ...
... called chromatically altered chords which aren't in any of the categories we have identified so far, and which are marked by the inclusion of at least one factor which is in neither the major nor any minor scales of one key. They are defined, in part, by genuinely chromatic intervals: the augmented ...
Expanded Tonality in Quartal Space: Back to Debussy`s
... fourth works as a structuring cell at all levels in Debussy's Étude pour les Quartes (1915), we attempt to locate and apply a fourth-based system that could fit the actual chord content of the piece. Moreover, one might expect that Debussy may have hidden in the piece pseudo or expanded tonal functi ...
... fourth works as a structuring cell at all levels in Debussy's Étude pour les Quartes (1915), we attempt to locate and apply a fourth-based system that could fit the actual chord content of the piece. Moreover, one might expect that Debussy may have hidden in the piece pseudo or expanded tonal functi ...
downloadable in PDF
... one another while each played a grand piano. The intricate music they generated was intoxicating. The level of communication that these two virtuosos displayed onstage can only be achieved by players who know everything about one another: temperament, technique, artistic inclinations. I’ll never for ...
... one another while each played a grand piano. The intricate music they generated was intoxicating. The level of communication that these two virtuosos displayed onstage can only be achieved by players who know everything about one another: temperament, technique, artistic inclinations. I’ll never for ...
A player`s handbook
... note starts. This requires a twohanded technique one hand to hit the keys and the other to dampen them. The playing hand controls when a note starts by hitting a key with a mallet. The nonplaying hand controls when that note stops, by grasping the key so it stops sounding. ...
... note starts. This requires a twohanded technique one hand to hit the keys and the other to dampen them. The playing hand controls when a note starts by hitting a key with a mallet. The nonplaying hand controls when that note stops, by grasping the key so it stops sounding. ...
Chromaticism II: Tonicization/Modulation
... that lie entirely within a new key. Modulation generally employs two features: the cadential establishment of the new key; and a subsequent re-start in that new key. In music where cadential confirmation is less likely (e.g., many development sections, and much 19th-century music), modulation can be ...
... that lie entirely within a new key. Modulation generally employs two features: the cadential establishment of the new key; and a subsequent re-start in that new key. In music where cadential confirmation is less likely (e.g., many development sections, and much 19th-century music), modulation can be ...
AoS2 – Harmony and Tonality
... ! It can be just one not, like a pedal, but often has two notes played at the same time ! These two notes are usually a fifth apart and are played in the bass, below the melody ! They ...
... ! It can be just one not, like a pedal, but often has two notes played at the same time ! These two notes are usually a fifth apart and are played in the bass, below the melody ! They ...
![Compositional trajectories [Medieval music]](http://s1.studyres.com/store/data/012781418_1-1acbf3c6fa6c77e5d5672bca000c933b-300x300.png)
Compositional trajectories [Medieval music]
... here, the third mode is the authentic member of the pair, which means that these melodies both move primarily above the final (rather than around and below it). To penetrate any farther into their melodic languages, an approach through the text is essential. Exsurge domine is the respond of a gradua ...
... here, the third mode is the authentic member of the pair, which means that these melodies both move primarily above the final (rather than around and below it). To penetrate any farther into their melodic languages, an approach through the text is essential. Exsurge domine is the respond of a gradua ...
Sample Tests Answer Key
... 1. The historical period represented is the Baroque period. 2. An Allemande is a dance in moderate 2/4 or 4/4 tempo; the first movement of a Baroque suite. (accept any reasonable answer) 3. Identify the key and mode of the piece. a minor 4. The formal structure is: ___ sonata X binary ___ ...
... 1. The historical period represented is the Baroque period. 2. An Allemande is a dance in moderate 2/4 or 4/4 tempo; the first movement of a Baroque suite. (accept any reasonable answer) 3. Identify the key and mode of the piece. a minor 4. The formal structure is: ___ sonata X binary ___ ...
... these phrases is the same as that of line 1, which establishes it as an even more crucial feature of the song and makes its properties all the more compelling, even haunting: what kind of song consists of repetitions of the same open-ended tune? The accompaniment, meanwhile, reverses the previous or ...
Musical Concepts
... speed and the tempo indication on a score tells the performer how fast to play the piece. Tempo may also affect the expressive quality of the music. Although composers indicate on a written score the speed at which to play their music, it is not necessary to study these specific terms for this course ...
... speed and the tempo indication on a score tells the performer how fast to play the piece. Tempo may also affect the expressive quality of the music. Although composers indicate on a written score the speed at which to play their music, it is not necessary to study these specific terms for this course ...
Ostinato
In music, an ostinato [ostiˈnaːto] (derived from Italian: stubborn, compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's Boléro or Giorgio Moroder's I Feel Love.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Both ostinatos and ostinati are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.If the cadence may be regarded as the cradle of tonality, the ostinato patterns can be considered the playground in which it grew strong and self-confident.Within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a riff or a vamp. A ""favorite technique of contemporary jazz writers"", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.