Blues and Other Popular Styles
... of chord changes (called the changes by jazz musicians) that is repeated many times over the course of a performance. It is helpful to think of the progression as three 4-bar units, labeled (a), (b), and (c) in Figure 12.1. The progression begins with 4 measures of tonic harmony (a), followed by 2 m ...
... of chord changes (called the changes by jazz musicians) that is repeated many times over the course of a performance. It is helpful to think of the progression as three 4-bar units, labeled (a), (b), and (c) in Figure 12.1. The progression begins with 4 measures of tonic harmony (a), followed by 2 m ...
A Mathematical and Musical Analogy in Microtonal Systems
... means of organizing pitch relationships. “The basic principle of the keyboard is that any key that is twelve half steps [the interval between any two adjacent keys] above another key produces a pitch whose frequency is exactly double that of the lower key. To the ear, these two sounds seem related, ...
... means of organizing pitch relationships. “The basic principle of the keyboard is that any key that is twelve half steps [the interval between any two adjacent keys] above another key produces a pitch whose frequency is exactly double that of the lower key. To the ear, these two sounds seem related, ...
Chpt. 3: 節奏Rhythm Flow of music (events) through time
... • Tempo indicated at beginning of piece • As with dynamics, Italian terms are used ...
... • Tempo indicated at beginning of piece • As with dynamics, Italian terms are used ...
S3 Theory Matters Workbook
... In the following exercise, describe each chord by its technical name. First identify the key, then the chord number, then the technical name. All chords are in root position. An example is below. The key is C Major – because there are no sharps or flats in the key signature. The Chord is F. The tech ...
... In the following exercise, describe each chord by its technical name. First identify the key, then the chord number, then the technical name. All chords are in root position. An example is below. The key is C Major – because there are no sharps or flats in the key signature. The Chord is F. The tech ...
Symphony no. 26 in D Minor, `Lamentatione`: Movement I Haydn
... Joseph Haydn (1732–1809) was highly influential in establishing the symphony, but to describe him as its ‘father’ as is sometimes done does not take sufficient account of the pioneering work of, for example, G.B. Sammartini (c.1700–75) and Antonio Brioschi (active c.1725–50). No composer of symphoni ...
... Joseph Haydn (1732–1809) was highly influential in establishing the symphony, but to describe him as its ‘father’ as is sometimes done does not take sufficient account of the pioneering work of, for example, G.B. Sammartini (c.1700–75) and Antonio Brioschi (active c.1725–50). No composer of symphoni ...
DCVLE - AP Central - The College Board
... 1. The chord must be spelled correctly. The bass pitch must be correct. 2. The fifth (but not the third) may be omitted from any root-position triad. 3. The fifth (but not the third or seventh) may be omitted from a root-position dominant seventh chord. 4. All inverted triads and inverted seventh ch ...
... 1. The chord must be spelled correctly. The bass pitch must be correct. 2. The fifth (but not the third) may be omitted from any root-position triad. 3. The fifth (but not the third or seventh) may be omitted from a root-position dominant seventh chord. 4. All inverted triads and inverted seventh ch ...
Sofia Gubaidulina: Dualism in String Quartets
... unhindered by measured time. It is as if Gubaidulina desires to free music altogether, not only from perceived meter but also from the sense of perceived beat. ...
... unhindered by measured time. It is as if Gubaidulina desires to free music altogether, not only from perceived meter but also from the sense of perceived beat. ...
The Guitar Chord – An analysis of Alberto Ginastera use of the guitar
... is played either with open strings or with pressed strings. As previously mentioned, it is rare to find chords formed solely by open strings in the tonal repertoire (This use becomes more common in late romantic and modern repertoire, when some composers began to explore this peculiarity of the guit ...
... is played either with open strings or with pressed strings. As previously mentioned, it is rare to find chords formed solely by open strings in the tonal repertoire (This use becomes more common in late romantic and modern repertoire, when some composers began to explore this peculiarity of the guit ...
Cyclic Organization in the `Chorale` of Charles Ives` Three Quarter
... intervals" (113), perhaps recognizing that this chord is the maximally-even distribution of five pitch classes in a mod24 space. Like chord I, chord II is also a segment of consecutive notes in a cycle, though now the 5-cycle. Ives refers to these two chords as the major and the minor chords of the ...
... intervals" (113), perhaps recognizing that this chord is the maximally-even distribution of five pitch classes in a mod24 space. Like chord I, chord II is also a segment of consecutive notes in a cycle, though now the 5-cycle. Ives refers to these two chords as the major and the minor chords of the ...
A - The sixth note of the diatonic major scale of C
... associated with octave, third and sixth intervals; however, fourths and fifths may be sounds of consonance, as in both early and 20th-century music. Consort - A 17th-century term for instrumental chamber ensembles and for the compositions written for these ensembles. Con spirito - With spirit. Contr ...
... associated with octave, third and sixth intervals; however, fourths and fifths may be sounds of consonance, as in both early and 20th-century music. Consort - A 17th-century term for instrumental chamber ensembles and for the compositions written for these ensembles. Con spirito - With spirit. Contr ...
COMPUTER-GENERATING EMOTIONAL MUSIC: THE DESIGN OF
... Mode is a harmonic structure that has a strong relationship with musical valence. Often when young music students are being taught to distinguish between the commonly used minor and major modes3, they are told that one sounds happy while the other sounds sad. These two modes seem to be the only two ...
... Mode is a harmonic structure that has a strong relationship with musical valence. Often when young music students are being taught to distinguish between the commonly used minor and major modes3, they are told that one sounds happy while the other sounds sad. These two modes seem to be the only two ...
A Graphical Model for Chord Progressions Embedded in a Psychoacoustic Space
... employing a binary tree structure suggested by the meter of the jazz standards in our database. Though this tree structure differs from that of other forms of music (thus representing a built-in stylistic prior motivated by music theory) the difference is not as great as it might seem. Most meters y ...
... employing a binary tree structure suggested by the meter of the jazz standards in our database. Though this tree structure differs from that of other forms of music (thus representing a built-in stylistic prior motivated by music theory) the difference is not as great as it might seem. Most meters y ...
Chords Triads
... Chords (Triads) A chord is a collection of two or more notes that are sounded/ played together. Chords can be used to accompany melodies, or as backings for improvisation. The most common type of chord is the triad – three note chords. Each triad is made up of a root (the first note), a third and a ...
... Chords (Triads) A chord is a collection of two or more notes that are sounded/ played together. Chords can be used to accompany melodies, or as backings for improvisation. The most common type of chord is the triad – three note chords. Each triad is made up of a root (the first note), a third and a ...
Tune Recognition from Melody, Rhythm and Harmony
... versions were played using a digital grand piano sound (Model 1923 Steinway D from the PMI Old Lady sample library), without dynamic changes. The version melody indicated that all notes had the same duration (500 ms) and equal loudness. No hints of time signature or rhythm were given. Melody with ha ...
... versions were played using a digital grand piano sound (Model 1923 Steinway D from the PMI Old Lady sample library), without dynamic changes. The version melody indicated that all notes had the same duration (500 ms) and equal loudness. No hints of time signature or rhythm were given. Melody with ha ...
Other Chords of the Major Key
... shows laziness on the part of the composer. This interval has a lot of raw power and is used in certain types of popular music and hard rock. It should only be used at the end of phrases where that feeling is wanted. The end of the song is another good place for its use. It should never be used in t ...
... shows laziness on the part of the composer. This interval has a lot of raw power and is used in certain types of popular music and hard rock. It should only be used at the end of phrases where that feeling is wanted. The end of the song is another good place for its use. It should never be used in t ...
A short introduction to Indian Classical Music
... known as the tal’s avartan. Tintal, for example, has an avartan of 16 matras. Not all the matras carry equal emphasis; some are stronger than others. The first beat, or matra, is always the strongest. This is known as the sam. Another important matra of the tal is the khali, this usually occurs arou ...
... known as the tal’s avartan. Tintal, for example, has an avartan of 16 matras. Not all the matras carry equal emphasis; some are stronger than others. The first beat, or matra, is always the strongest. This is known as the sam. Another important matra of the tal is the khali, this usually occurs arou ...
Slightly Out of Tune: The Story of Musical Temperament
... Whenever he went over the octave, he would simply “wrap it back” down one octave to stay inside the octave interval. One by one, this produced twelve notes, each a ratio of 3:2 apart, that is, a perfect fifth, returning to the octave above the original note. ...
... Whenever he went over the octave, he would simply “wrap it back” down one octave to stay inside the octave interval. One by one, this produced twelve notes, each a ratio of 3:2 apart, that is, a perfect fifth, returning to the octave above the original note. ...
Chopin – Prelude No.15 in Db major, Op.28
... Features of the Romantic Style Emphasis on expressing a wide range of feelings and emotions Longer and more developed melody lines Freedom in use of form and structure Extended vocabulary of chords i.e. Dominant 13th Chromatic and discordant harmony to portray grief and anguish Strong a ...
... Features of the Romantic Style Emphasis on expressing a wide range of feelings and emotions Longer and more developed melody lines Freedom in use of form and structure Extended vocabulary of chords i.e. Dominant 13th Chromatic and discordant harmony to portray grief and anguish Strong a ...
2.7MB PDF - The Chicago Guide for Teaching and Learning in the Arts
... engaging with the music they hear because they don’t know how to respond to it. To help students appreciate and evaluate music, give them the vocabulary needed to describe what they hear. Encourage them to listen actively. Also, prepare a set of questions that students can ask themselves every time ...
... engaging with the music they hear because they don’t know how to respond to it. To help students appreciate and evaluate music, give them the vocabulary needed to describe what they hear. Encourage them to listen actively. Also, prepare a set of questions that students can ask themselves every time ...
playing giant steps with one scale
... As Mark Levine has pointed out (in The Jazz Piano Book and The Jazz Theory Book), this means that it’s possible to play the tune using just three pentatonic scales – F#, Bb and D major pentatonics, which fit all the chords from the II-V-Is in B, Eb and G respectively. To use this approach, all you h ...
... As Mark Levine has pointed out (in The Jazz Piano Book and The Jazz Theory Book), this means that it’s possible to play the tune using just three pentatonic scales – F#, Bb and D major pentatonics, which fit all the chords from the II-V-Is in B, Eb and G respectively. To use this approach, all you h ...
Contents
... Brainstorm ideas that could be used as a basis for composition A list could include some of the following: - slow waltz with subtle interplay of crossrhythms - simplistic counter-melodies to complement main theme - colourful use of orchestra - mild harmonic dissonance - parallel ninths - long ...
... Brainstorm ideas that could be used as a basis for composition A list could include some of the following: - slow waltz with subtle interplay of crossrhythms - simplistic counter-melodies to complement main theme - colourful use of orchestra - mild harmonic dissonance - parallel ninths - long ...
Full Text - Discovery Publication
... legisign. Qualisign is a sign of with quality, mark melodic qualities of music such as timber. Example in“Azizah” catchy melody performed ( =160, allegro) is a qualisign (quality). Sinsign refers to a mark that is individual and separated, individual nature, existence and performance work. Example “ ...
... legisign. Qualisign is a sign of with quality, mark melodic qualities of music such as timber. Example in“Azizah” catchy melody performed ( =160, allegro) is a qualisign (quality). Sinsign refers to a mark that is individual and separated, individual nature, existence and performance work. Example “ ...
Suggested Notes for 2015 piano syllabus
... - The LH alberti-bass is the rhythmic driver and needs a firm pulse - Shape the phrases well, and note some LH melodic parts, e.g. bars 8 to 12 - Staccato over slur-marks is to be played portato – not too short Podgornov – Der Schmetterling und die Blume (June from The Seasons) - Light fingers and c ...
... - The LH alberti-bass is the rhythmic driver and needs a firm pulse - Shape the phrases well, and note some LH melodic parts, e.g. bars 8 to 12 - Staccato over slur-marks is to be played portato – not too short Podgornov – Der Schmetterling und die Blume (June from The Seasons) - Light fingers and c ...
Confirma hoc
... In order to fully understand the origins of plainsong or chant one must go back to the ancient Greeks. In approximately 500 B.C. Pythagoras, perhaps history’s first music theorist, and other ancient Greek scientists developed a system of scales (modes) and division of the octave still in use to this ...
... In order to fully understand the origins of plainsong or chant one must go back to the ancient Greeks. In approximately 500 B.C. Pythagoras, perhaps history’s first music theorist, and other ancient Greek scientists developed a system of scales (modes) and division of the octave still in use to this ...
1 Interlude: Two-to-One Counterpoint Introduction In the last
... Interlude: Two-to-One Counterpoint Introduction In the last counterpoint interlude, we looked at one-to-one (first species) counterpoint, in which the cantus firmus and contrapuntal voice move at the same speeds. In combination with certain harmonic norms (like cadences and root motion by fourth or ...
... Interlude: Two-to-One Counterpoint Introduction In the last counterpoint interlude, we looked at one-to-one (first species) counterpoint, in which the cantus firmus and contrapuntal voice move at the same speeds. In combination with certain harmonic norms (like cadences and root motion by fourth or ...
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.